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Wednesday, October 25. 1972
University Daily Kansan
Buddy Rich:No Apologies For Talented Drumming
By BILL JONES
Kansas Review
AndAandNewWe
Rich has been acclaimed as the best drummer for many years by the readers of Down Beat and
Buddy Rich
Playboy, and by numerous music critics.
Rich himself agrees that he's the best drummer, and makes no apologies for saying so.
Do you think it's proper to have a belief about yourself, and to deny that kind of honesty? Rich asked. "Do you think that I should be more loving? Are you lying to yourself and at the same time
trying to project an image of being a sweet guy?"
RICH SPOKE backstage between sets at the Landmark, where he performed recently. Although Rich has a dry sense of humor while on stage the spokesy about himself and his music.
"I think that the drummer's position is always the backbone of any band," Rich said. "He's the most important member of any band or group, because he's a drummer." The drummer, you don't have any time, and without time you don't have any jazz.
"If the drummer is good, then the band is going to be good. If he's bad, it stands to reason that he has the power to the power that it should have."
In spite of this, Rich does not dominate the rest of his band. Instead, he plays with control, and it is not that rich that this comes from restraint.
IT'S A matter of taste on how you play," he said. "Anybody can overpower a band or powerover a speaker with intelligence in playing any instrument — a matter of the sound, a matter of volume and power and sound."
Rich currently has a band of 14 young, very talented musicians. In addition to Rich and his drums, the band has four trumpets, three trombones, five tubas, an electric bass and an electric piano.
said Rich. "Every member of the band is concerned about how they can be seen about the presentation, because there is concern with being as perfect."
Rich refuses to label his music as any particular form or style, but prefers the word "conformary" in describing his music.
"I'm very proud of this band."
"We appeal, as a matter of fact, to us because we then on to the old audiences, because the old audiences are upset because we don't play them."
"The thing I like to convey in music is that it's good music," said Rich. "That's the only thing I try to convey to an audience, is it just being tasteful, taste, and is played better than any other band would play it."
"THERE'S ALWAYS an audience for good things as well as the bad things," he said, and added that his audiences know automatically that "what they're higher level, and of more musical content, than what's being thrust to the public today.
"What was great last night should be greater tonight. And what was greater tonight should be smaller night. You become bigger when you say, 'This is good enough.' But I'm the kind of man that is never satisfied, and that's why it's never good enough."
'Ah Ahk' Introduces KU To Korean Music, Dance
By H. BERG Kansan Reviewer
"Ah Akh" is Korean for elegant or royal music. The National Court Music Institute traces its roots to the Yi Dynasty Royal court.
"Ah Kah: Performing Arts of Korea"—folk and classical music and dance—played at the opening evening as part of its first Western tour. The company, assembled in the early fifties, had previously been seen only in Asia. It was sponsored by the Society for Eastern Arts and society for the Cerrent series.
THE CLASSICAL COURT Music is designed for refined and cultivated ears and the instruments used are most subtle.
For example, a two-stringed bowed fiddle (haeekum) is accompanied by a twelve string zither (kambo), a six string zither (komongo), and a seven string zither (a chaining). The last string bowed rather than plucked
A few other interesting instruments are a two-headed drum (changke), which is in the center of the instrument and the other with the hand, a double-reed areophone of bamboo (piri) and a transverse reed. The other membranes covering its sound hole. Also, a conch was used for a royal processional piece. The oblong phonones seemed to be employed.
While the classical music was played by men, the folk music and dancing was done by women (kiasengs). This gave the other more intimate appeal in comparison with the austere sections.
There was a sword dance (kommu) commemorating a young soldier who had died in battle. He then, with which the lover acted out the last few moments of the soldier's life. The main feature of the dance was the symmetry of two paired dancers playing the part of the lover.
THE FARMERS' DANCE (n long ak) was the most festive of them all. The narration placed it
as in the middle of harvesting or seed planting time. Six women entered beating on little hand drums, then a woman did a stirrup and carried them carried after each tight revolution, and finally another woman came out wearing a taming strap on her shoulder strip of material fastened to the hat. By quick movements of her head she had the long streamer going in large circles and spirals at the delight of the audience.
THE "CH'OYONGU," a masked舞人, has an old legend behind it. A dragon known as the pestience of the sea has been chased away. The dragon agrees to remind him of that promise masks are placed at the five compass point gates—east, west,
south, north and center of the universe. The dancers each dressed in a rich broached silk robe- blue, white, red, black, bright, little, peaceful duets one at a time with each other.
"The Nightingale Singing in Springtime" is regarded as the epitome of refinement and is the only surviving solo dance in court dress. The skirt, yellow overdress, and embroidered red and green vestments, is restricted to a flower-patterned mat. Her hair is long, with extensions exhibiting front, side and back, raising feet or hands. The last is emphasized by very long sleeves that floated gracefully beyond her hands into semaphore pat-terns each time she flies her wrinkles.
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