Friday, April 25. 1980
University Daily Kansan
Jazz jam
One of the better kept campus secrets is the University of Kansas jazz program. Once banned from Murphy Hall in the early 1970s, it became an important part of the band program.
KU jazz program a big hit
BY DANNY TORCHLA Staff Reporter
Staff Reporter
Starting with a single jazz ensemble, the program has expanded to include three big bands, several jazz combs, two improvisation courses, and two jazz history courses.
Before 1970, the jazz program was underground. Dick Wright, a jazz history teacher at the University in the Midwest, said that musicians would meet at night and practice.
"There was no university sanction," Wright said.
Robert Foster, director of bands, came to KU in 1971 and first the startened. It rehearsed in Bailey Hall, because there was no rehearsal time available in Murphy Hall.
"Jazz was not allowed in Murphy," Foster said. "If you tried to play you were escorted out."
JAZZ WAS ADDED to the curriculum because it was thought that music majors should be exposed to jazz. A student who is going to play professionally after graduation should how to play jazz, and the student who is going to teach should know how to teach it.
"I think if you are going to have a complete program you have to have it," Foster said.
of the big bands was added in 1975, and James Barnes, the assistant to the director of bands, took over the direction of the top band.
The second ensemble started in 1973, as the musicianship began to improve. The last
Barnes was director of one of the big bands when it appeared at the second annual Nashville concert last year. Leonard Feather, perhaps the best jazz critic in the country, reviewed the festival for Downbeat magazine. He called the ensemble one of the best college bands he knew.
"The four bands read their parts well and the dynamics and shading, but only one, the University of Kansas Jazz Ensemble, I showed real creativity andPromo among them."
BARNES, WHO WAS a graduate student at KU when the program began, said that the secret of a good college band was improvisation.
"The level of improvisation here is an uncommon thing in a college band," Barnes said. "The death there is incredible."
It is generally thought that most of the country's jazz talent is concentrated on the coasts. Once considered a musical equal with New York and New Orleans, the city's regional vaguely legit regina its reputation as a jazz center. KU is sharing that reputation.
FORMER MEMBERS of the KU jazz program that have gone on to professional fame include alistair Gay Foster, reed man Earl Dummer, formerly with the late Stan
Kenton and now with Frank Zappa, and trumpeter Jay Sollenberger, formerly with the group Chase.
The program is considered one of the better ones in the Midwest. Artists such as Mimi Wilson, Joan Hobson and drummer Ed Shauneys have appeared with the KU jazz ensembles. Continuing the tradition, one band is appearing with The Eagles Gillespie Tuesday in Hoch Auditorium.
The concert with Gillespie should bring more publicity to the program. One of the pioneers in jazz and a major jazz innovator is Jeffrey Smith, whose piece is being presented in concert by SUA.
"Dizzy is the drawing card," McCurdy said. "It's a real neat thing to be on stage with a person like him."
He will play with his quartet as well as front the band. Ron McCurdy, who directs the ensemble, said he hoped the concert would be publicity for the band and the jazz program.
PART OF THE REASON why the program does not have the recognition that schools with a big jazz reputation, such as those in New York or Los Angeles, ensembles do not play at festivals for ratings. The directors prefer to play concerts and let the audience decide if it is good music.
"I always say that if you're out to win,玩 baseball or basketball." Barnes said.
"The main thing is to prepare people to teach and play jazz."
UNIVERSITY DAILY KANSAN
the arts
Quartet to perform
By KATHY KASE Staff Reporter
The Amadeus String Quartet, which has sold more albums than any other string quartet in the world, will perform Sunday at 8 p.m. in the University Theatre.
According to Raymond Stuhl, professor emeritus of music performance, the quartet is very popular.
"If they accepted all the engagements they could get, they would have 400-500 dates a year. They are so in demand." Stubli said.
"This program is put together in such a way that each piece complements the other. Stuart said. "These are not just three pieces, but one that is an extremely beautiful musical picture."
The quartet will perform Hayden's Quartet in B minor, Opus 64, number 2; Shubert's Quartet in C minor and Shubert's Quartet in F major, Opus 39, number 1.
Stuhl said that the Hayden work was one of the composer's most famous pieces. A tuneful and妙 piece, it is one of over 110 quartets that Hayden wrote, Stuhl said.
The Schubert work is known as a 'quartet仕z', which means, literally, 'a force for string quartets'. "Stuhl said." It is unclear whether it has never been played before in Lawrence."
THE BEETHOVEN work is one of great magnitude. Stuhl said, and is comparable to his symphonies and opera. The beauty of the music is distinguished among the instruments, he said.
"This is the music that the great composers wrote for themselves and their friends," Stuhl said. "They got together and played these works themselves and enjoyed
The Amadeus Quartet enjoys these pieces, too, because they chose the program. Stuhl said.
The Quartet's members are Norbert Braun, first violin; Sigmund Nigel, second violin; Peter Schidell, viola; and Maten Leyell, cellist.
"They have been together for 28 years without a change in personnel," Stuhl said. "That's a record."
Tickets are on sale at the Murphy Hall box office and are $6 for the public, $3 for KU students with 1D and $4 for all other students.
spare time
FRIDAY MUSIC: Billy Sparks, 7.30 p.m. Lawrence Opera House, 7th and Massachusetts Tofu Teddy and Beth Scalet, 9 p.m. Off the Wall Hall, 737 New Hampshire THEATRE: You Can Take It With You, guest starring Pat Hingle, 8 p.m. University Theatre DANCE: KU Spring Festival Dance Concert, 8 p.m. Hoch Auditorium
SATURDAY MUSIC: Kanada, 9 p.m. Off the Wall Hall, 737 New Hampshire THEATRE: You Can Take it With You, 8 p.m. University Theatre DANCE: KU Spring Festival Dance Concert, 8 p.m. Hoch Auditorium
SUNDAY MUSIC: Amadeus String Quartet, 8 p.m. University Theatre Spring Symphony Band, 3.30 p.m. University Theatre DANCE: Spring Festival Dance Concert, 2 p.m. Hoch Auditorium
MONDAY MUSIC: Concert, Dozy Gillespie, 6 p.m. Hoch Auditorium
Professor brings arts to Lawrence
By JON BLONGEWICZ
Seafood Platter $2.75
The tall, thin man with the goatette swayed back and forth, pendulum-like, in the manner of saxophone players. His fingers moved rapidly over the keys.
Sheet music was tacked to the dark walls, musical instruments hung from the ceiling, and large mirrors. Broadway, but Paul Gray's Jazz Place in Lawrence. The crowd applauded just the whole.
Staff Reporter
"I talked to native New Yorkers and they told me that life ended west of the Hudson River," Chuck Berg, the object of my research, said to say help to Tobe in the Land of Oz."
film historian and critic, writer and jazz saxophone player. That is sophistication and culture. Someone straight out of the magazine or maybe the New Yorker.
Life doesn't end west of the Hudson, and if Berg is any example, sophistication and culture don't either.
BUT BERG CAN be found right here in Lawrence. He is a professor of radio, television and film, with emphasis on film. This semester he is teaching History of the
Served Each Friday,
5 PM - 9:30 PM
Silent Film and film theory. Berg is also known as a contributing writer Downbeat and Radio Free Jazz magazines. He also wrote The Lawrence Daily Journal-World.
"Lawrence provides a healthy climate for the Kansas City tradition. Kansas City was "Mecca" of jazz with people like Count Bastie, Lester Young and Mary Lou White."
Delicate Flavored Seafood and Fish complaining with Hush Puppies French Fries & Cole Slaw
When talking to Chuck it seems almost impossible to call him Charles, his wide ranging interests in the arts seem to confirm his image as one of sophistication and class.
"My lifelong pursuits are all tied together, the arts, film, music theater." Bere said.
ACCORDING TO BERG, Kansas City jazz has an earthy, bluesy feeling; a sense of swing.
23rd & Iowa
His toes must have felt good as he listened to Jin Stringer, featured guitarist in the chuck Berg Band at a recent performance. His feet were tapping and his fingers were snapping.
On the next tune Berg switched from the tenor sax to what seemed like a toy. Actually it was his fifty-year-old soprano saxophone.
"It feels good between the toes," he said.
"College towns are very special, unique places," he said. "Lawrence has a richness and a diversity that is unique."
For the last song of the set Berg moved to the flute.
The crowd was responsive and applauded as one of Berg's solos. One member of the band was old, Nathan, who was a major reason for Berg's return to Lawrence, two and a half years ago.
DURING THE BREAK, Berard ordered "a tour of the city," a musician he musician here. He mingled with the crowd. Several asked him about his unique background. Berard would mingle with the crowd in New York.
"We won't leave you with a bang or a whimper," he announced to the crowd, "but with something light as a feather."
"We were concerned about the public school system in New York," Berg said.
"I approach each instrument differently," he said. "Each brings out different emotions."
DIVERSITY IS ONE subject Berg should
Sounds sophisticated and cultured, right out of Esquire.
be familiar with. Film and jazz. They bring back the cultured and sophisticated lable.
"Playing in a jazz band is a lovely change of pace and related to my concerns, to music and the film medium," Berg said. "The more connected you are with the more connections you can make to film."
"Each art form offers different challenges, different opportunities," Berg said.
Music? "Music allows a person to express different thens."
Film? "There are so many types, genres of film, each has his separate charms, pleasures."
SOPHISTICATION? CULTURE? To Berg it is simpler than all that.
As it is a ginning acceptance, the new wave performs up to my mainstream rock performance. But with their latest albums, are among the first to show the new wave influence. It's a saga of growing fame.
Holiday Inn
From the first moments of his new album, "Glass House," you get the feeling that the song is meant to be "You May Be Right" starks off the album. The guitar are in command all the way, and Joel's hearing voice sounds relaxed and joyful. The song acts the tone for the rest of the album.
Sophisticated and cultured? Not really. Mr. Johnson was a professor, film critic, film historian, columnist, jazz flutist, saxophonist who lives down the street, in Lawrence,
Staff Renorter
Billy Jack has always been the Rocky of the band, and he knows how to get guy who always gives his all. His songs have always had a bit of an edge to them, but when he tried to rock really out it usually worked well.
People who are really alive, just keep their minds and hearts open, "Berg said. Something out of the New Yorker perhaps?
The new wave explosion that has been taken up in the mma press the past couple of years is now happening in recent success of Blondie, Joe Jackson and the Clash indicate the public is starting to buy.
By DANNY TORCHIA
Tide changing in favor of new wave sounds
Standouts include "Sometimes A Fantasy," with its wiping Jerry Lee Lewis vocals; "I don't Want to Be Alone Anymore, a torrion meeting in a bar where the guy asks the girl if he 'the one', for Leyne," with its persistant guitars and rhyme melody. "The best song on the album.
Most of the songs she plays a Beatles influence, but it is on the ballads where their influence is particularly noticeable. "You were not my brother," Joel has ever written, reminiscent of 'Michelle,' with its French lyric in the title; the sultany is subtly complex, and Joel sustains tenderly.
The last song on the album, "Through the Long Night," sounds as if it could have fitted on the Beatsles 'Revolver' album. The Beatles, who sang for McCarthay and Joel perfectly imitates him.
WITH THIS ALBUM, Joel has shed his "Piano Man" image. It has been faded since 'The Stranger'. In fact, if you listen to his first album, "Piano Man", and then "Glass House," you can hardly tell the same person is raiding its raid. It's just another side of Joel. It's a good disappointment "$2nd Street," which was a disappointment album.
Goldenberg's tunes are the best on the "Mad Love" startups off right, the guitars are in full force, with a twist. Ronaldast's force, with a distinctive edge.
The formula she has used on her albums is *Milk of God*, which is more or less irritant. There are a couple of dues, the Neil Young song that appears every few albums, and the selection of contemporary songs.
By contrast, Linda Rostad's latest effort is a radical departure for her. With the hot pink graphics and punk-style lettering, she draws attention to the image as the barefoot girl singing onstage.
It is the new songs that have caused the most changes. Instead of using mainstream writers like Karla Bonoff and J.D. Sutherd, roaststaff and producer Peter Aster have written songs by Elvis Costello and Goldenberg of the new wave group. The Cretones.
FOR THE MOST part the choices are excellent. The material, especially Costello's, makes Rostand totally rewarmable and is quite forceful at times, and it usually works.
"Cost of Love" has a nice '60s ring,
The refreshing thing about "Glass Houses" and "Mad Love" is that they both sound different from anything Joel and Ronsstadt have done in the past. And though new waveparties may be right in saying "Glass Houses" are at least, it is at least Joel and Ronsstadt have been listening. It is hoped other established performers will too.
sounding like the girl groups that flourished before 1964. In the same vein is "I Can't Let Go," an old Hollies song and the best tune on the album.
The only time Rontashel's singing does not work is on "Hur Sbad So," another oldie. She sounds pouty and overly dramatic and a little overused in the band and a fine performance by the band.
Overall, the album is mostly good. There are problems, mostly the fact that it sounds too loud. It's a nice album, but deserve the brickets the critics have been tossing. At least it is a different approach.
**HAT IS THE** important thing with these two albums. Both Ronsstadt and Joel have been phenomenally successful the past few years, and this album will brush the same tume on a few more albums.
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