6
Monday, May 9, 1977
University Daily Kansan
Band needs no gimmicks
By RICK THAEMERT
Reviewer
To ZZ Top, the "Little of' band from Texas," the 7,000 fans in Allen Field House Saturday night must have seemed like a little crowd from Kansas, but if so, they
The three country gentlemen, who earned more than $10 million between them in concert performances last year, ignored the small crowd and proceeded to blow people away with an hour and a half of rhythm and bluesy boogie rock. No one in the crowd of boppers and University of Kansas students should've left disappointed—ZZ Top is One of the few bands who are better in concert than they are on records.
FOREIGNER, a six-piece rock band similar to Boston, opened the show with a 48-minute set of full of whizkid synthesizer sounds. At noon, he played in the course of, course, we had bassists cut off by a
leapprogging lead vocalist. Despite the mediocrity of the patent rock sound, the crowd reacted well. This could be attributed to the fact that he was starved for concerts this year. I had a feeling that Captain and Scherrill would have received a similar response from
Performance
From the minute ZZ Top took the stage,
the energy began to flow as the group
skipped through a fast-faced songlist of bass弹奏, rhythm and blues and just blues.
GUITARIST BILLY Gibbons, dressed in a white cowboy hat, white shirt and jeans with real, not Sears, patches on the seat of his pants, was clearly in control of the door. "I'm here," she said, them. "We're gonna be here for a long time this evening." That, in Texas or anywhere,
This Week's
Highlights
Theater
"MASS," Leonard Bernstein's musical on the song "A Day in Paris," conducted by Philharmonic conducted by Maurice Peress and a cast of 240, 8 p.m. Tuesday and Wednesday. R L D. S., Auditorium In.
"GREASE," a 50s musical, 8 p.m. May
13. "WEEKDAY," a May 21 and 22, Lytic
Thursday. Kiera Hunt
"BUBBLING BROWN SUGAR," a musical on ornamental golden era in the mid-1920s, by Raymond A. Krug and 8 m. May 28 and June 4; 2:30 and 5 p.m. May 29 and June 5; Lyric Theatre,
Concerts
BREAD and Stephen Bishop. 7:30 p.m.
Tuesday, Kemper Arena, Kansas City,
Missouri.
SUPERTRAMP, 8 p.m. Wednesday,
Memorial Hall, Kansas City, Kan.
DAVID BRENNER, Wednesday through Saturday, Breckenridge Inn, Kansas City.
SERGIO MENDES AND BRAZIL 77.7,8
Cherlity, Kemper, Kansas
Hourly, Kemper, Kansas
TRIBUTE TO CLAUDE "FIDDLER"
pm on Saturday, Mr. Pipp's.
Kansas City, Mo.
ATLANTA RHYTHM SECTION, 8 p.m. May 15, Memorial Hall, Kansas City, Kan.
BAND and WILD CHERRY, 7:30 p.m. Municipal Auditorium, Kansas City, Mo.
FIRESIGN THEATER, 8 p.m. May 19.
Uptown Theater, Kansas City, Mo.
JIMMY P$HEEER, and Ian Matthews, 8
pm. May 10, Memorial Hall, Kansas City
BILL COSY. May 28 and 29, Worlds of Fun, Kansas City, Mo.
BURTON CUMMINGS, May 22, Worlds of Fun. Kansas City, Mo.
NITTY GRITT DIRT BАНD. June 4 and
5. Worlds of Fun, Kansas City, Mo.
CAPTAIN AND TENNILLE, 8 p.m. May 27, Kemper Arena, Kansas City, Mo. BILL COSY, May 28 and 29. Worlds of Fun, Kansas City, Mo.
CHAMBER MUSIC RECITAL, featuring Martin Agee, violin, and Steven Shumway, cello, 8 tonight. Swarthwout Recital Hall.
STUDENT COMPOSITIONS RECITAL,
STUDENT COMPOSITIONS RECITAL,
2:30 p.m. Tuesday, 328 Murphy Hall.
was musician's bull, but it was nice to hear anyway.
Records
JERILYN COMBS, soprano. Student
Recital Series. 8 p.m. tuesday, Swarthowon
J. S. BACH: PARTITA NO. 1 IN F LAT, BWV. 825 AND PARTITA NO. 2 IN C MINOR, BWV. 826 (Igor Kipnis, harpischor, Angel S. SCHÖPLI) - Kipnis continues with his work on the sichord works. An authoritative master of Baroque performative practice, Kipnis plays with abundant technique and infectious enthusiasm, and the tonal variety of his Rukowksi and Robinetone instrument is his most popular work, which has been seldom achieved on records.
ROSSINI: OVERTURES (Royal Philharmonic Orchestra, Colin Davis conducting, Seraphim S-60289)—An album of choice Rossini overtures opens with the "Signor Burschine" and "L'Italiana in Algeri." Instrumental brilliance and tongue in cheek music were Rossini's stock in trade, and the young Colin Davis realizes
SCHUMANN; CONCERTO IN A MINOR BLOCH; SCHELOMO (Mislast Rostropovich, cello, Orchestre National de Mélanges du Musicale de Paris Armand S.37256) Two great minds reflect on two great works. Ernest Bloch (1880-1959) composed his rhapsody "Schelomol" ('Solomon' in Hebrew) in 1916. It is a big, beautiful piece with a biblical king, Schumann's Concerto is one of the most important romantic works for cello. Rostropovich and Bernstein breathe fire into both scores, a collaboration that is for its sympathy as for its excitement.
Books
Because ZZ Top is only a three-piece band, Gibbons, who controls most of the melodic changes within the band, had to learn to play solo in both. A variety of slide work, funky licks and harmonics culminated on steamy choruses and jeans to the woman who did him wrong.
ONE MAN'S MEDICINE, by Charles Harris (Crest, $1.75)—A novel about a doctor who is wedding to his practice, and who is appalled when he continues to encounter whose concepts of medicine are inferior to his. The book, by a doctor, is a first novel.
MEANWHILE, Dusty Hill on bass and Frank Beard on drums churned out a driving, throbbing rhythm that stuck in the music. We were impressed by the drummer and bass are too busy impressing themselves with epileptic syncope to be heard. We have to perish the tupest rhythm unit around.
QUASARS, PULSARS AND BLACK HOLES, by Frederic Golden (Pocket, $12.95) a scientific view of the universe and its scientific still time to shout "Stop the world, etc."
The rightness was reflected onstage. The three would meet by the drum kit, heads down, like cowboys grazing on beans around the campfire. Then, Hill and Gibbons would come forward and stand close together. They moved in unison, almost approaching the splits at times. Even the accented jerks of the guitars were together.
AT TIMES, in a bow reminiscent of Flicka in her best form, the two would bend down and lower the ends of their guitars to the ground. In fact, an aura of politeness came out as the musician's stage smile. Smiles and nods passed between the three to signal endings or changes. Even when all hell was breaking loose, sophistication prevailed. They proved that musicians need not jump around like fools to have an exciting show.
Nor did they need gimmicks. There were no lasers, no fog machines, no choruses by 2,000 synthesized strings and no weird tunes. They didn't mark their martirs. Just load, driving rock music.
SONGS LIKE "Beer Drinkers and Hell Raisers" from their "Tres Hombres" album, had students bedecked with cowboy hats stumping in the aisles. Hill's trebly screams and grungy voice worked well to compliment Gibbons' lower, funk-blues voice similar to that of Lowell George. He also played his roots by a couple of country tunes in a genuine, fraggy low voice. Only a chorus of "I got tears in my ears from lying on my back crying over you" could've seemed more genuinely Texan.
See CONCERT page seven
By JEANNE HIERL Staff Reporter
Electronic music, total control and minimal control music, traditional instruments played in nontraditional ways—these and other developments in the world of music are changing the concept of what music is.
New music concepts evolving
An explosion of creative techniques in the last 30 years has expanded the means of musical expression and broadened the spectrum of musical sounds, according to music professor J. Dexter of music theory and director of graduate studies in the School of Fine Arts.
Shumway said that new ways of playing musical instrument had also created exuberance.
New fingeringes for wind instruments, different bowing techniques for stringed instruments and percussive effects created by hitting instruments are some of the new techniques. These techniques received further acclaim, but are now accented in the music world.
Shumway said recently that the birth of electronic music, which came in 1945 with the invention of the tape recorder, brought a whole range of new sounds to music and spurred the development of new ways of performing on nonelectronic instruments. In 2014, electronic synthesizers in the '60s further advanced the creation of new forms of music, he said.
IN ITS INITIAL stages, electronic music was ridiculed as being atonal or non-musical, he said. But electronic music is not just atonal. It can be anything from jazz to classical or romantic music to the music children hear on "Sesame Street."
NEW TYPES of composition have also changed music, Shumway said. Composer-
controlled or nonspecific notation departa from traditional music notation because it leaves much of the interpretation to the performer.
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The opposite of nonspecific music, total control music, which is highly specific, highly edited and very complex. In total control music, the composer predetermines
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Arts & Leisure
all the musical elements. Computers are sometimes used as an aid in composing
"The curious result of these two oppose-
tions is Shumway, "that they
bound the saddle.
CHARLES HOAG, professor of music theory, said that the improvisation inherent in minimal-controlled music often led to exciting multimedia productions.
"This new music can blend into rock, jazz and be combined with dance, art or poetry," he said. "It is succeeding in the old idea of bringing all the arts together."
1/3 OF USA
Hog said that, in general, new music was not available to the public, especially in
nobunian areas. But, he said, the person who was really interested in new music could find it, usually in university settings. Despite the low availability of new music in the States has the finest composers in the world, he said, that most of new music activity, Hog said.
PERFORMERS HAD mixed feelings-
about new music, he said. Some have never
played before.
"Much of it is hard to perform," Hoag said. "It's a whole new ballgame; it's learning to read music all over again. In some cases there are no notes, no meter. There are complicated rhythms that are harder than anything done in the past and because of which the performer must make choices in their rhythms or do without any rhythm."
Norman Paige, professor of performance, said that some of the new music required vocal techniques that strained immature voices. He said that some contemporary composers treated the voice as just another instrument.
Hoaag said that students at KU were being exposed to new music as well as to art.
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Speakers, turntables, amps. . . etc.
RAY AUDIO Open Thurs. to 8:00 The Finest in Stereo and Hi-Fi 13 E. 8th St., Lawrence, Ks. 842-2047
GRADUATING SENIORS Do Your Own Diploma Framing!
University of Kansas
John Doe
Diploma
1977
We offer custom or do it yourself framing.
See us for diomai framing details.
FRAME WORKS
Holiday Plaza Center 25th and Iowa 824-9090 Custom Frames By You! Store Hours: Tues-Fri 11: 8 - 12: 5 Sat 10: 5
ENROLL NOW
Be a Montessori Teacher
Attend Program at the Lawrence Public Library, Tues., May 3, 7:30 p.m.
For Preschool Teachers & Parents of Young Children
A Slide Show and Demonstrations Presented By
Sunshine Acres Montessori Preschool & The Montessori Plus Teacher Preparation Center
This program and demonstration for teachers and parents will also count as orientation for the 1977 summer school Montessori Teacher Preparation at Certificate Course, May 8-30-July 12. You need to be a college graduate to take this course and be admitted to Montessori Education in Lawrence as you must work part-time or go to school part-time. Four (4) years of school year in Topoka or at Sunshine Acres in Lawrence as you might work part-time or go to school part-time. Four (4) years of college education in partnership stipend toward their tuition and practice teaching expenses. Un dergraded and graduate credits available. Also now enrolling children for summer and all programs at Sunshine Acres Montessori School. 2141 Mantle Lane. [842.2931]
sirloin
Lawrence, Kansas
We will be open Graduation Night Monday, May 23 for your accommodations make reservations now. Phone 843-1431
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Thank you for your wonderful patronage this year. KEN KIRBY, Owner 843-1431 Phone 843-1431
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