Page 4, The Carolina Journal, 1969
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A Night Song
Velvet Underground
Nucleus
Miss Misty Moore
There is nobody who can play an electric guitar like Wes
Montgomery could, but Kenny Burrell gives it an applaudable try.
Burrell seems to be imitating Wes in Burrell’s NIGHT SONG. On
the title number, Kenny plays a melancholy chord or two as he
receives more than adequate backing by a group conducted by Don
Sebesky and headlined by Marvin Stramm on the trumpet and
Urbie Green on the trombone. “Blues for Wes” is a high-strung
tribute to the King. It doesn’t do him justice, but Burrell will
make it some day if he continues at the present pace. “Namely
You” is strictly midnight mood music. “Love You Madly” brings
things back up to a big band sound, and “Just A Sittin’ And
A Rocking” is more soliloquatious picking.
Burrell plays “The Shadow of Your Smile” in a really deep
manner. He gets into the song and works his way out. For better
than five minutes he twangs out one of the best standards to come
out of the sixties. It may be the best tune on the album; the other
cut under consideration is “Brother Where Are You'.'”. It comes on
strong and hangs in there, and all that there jazz-type talk, “Night
Hawk” is an eight minute cut with orchestration that encompasses
many moods and ends in rolling and crashing drums. The last song
on this Verve recordiis Burrell’s rendition of the popular “Teach
Me Toniglit”, a sensually luxurious sound that brings back old
memories and new expectations. Hope it does the same for you.
The Velvet Underground comes on real soft with the first track
on their album VLLVFT UNDERGROUND. The first song, “Candy
Says” is mellow and tuneful, one of the best love songs to come
out of the rock movement. This M-G-M group may just have a
sound really worth listening to. The pace picks up pretty much
with “What Goes ON.” It’s got a real hot instrumental part that
trips it out pretty strong. “Some Kinda Love” is also an
instrumental of some merit. “Pale Blue Eyes” is a quiet tune with
guitar and piano in the background. The last song on the first side
is “Jesus.” We all know who that’s about.
Side two begins as almost an answer to the questions posed in
the last song on side one - “Beginning to See the Eight.” The
second song is “I'm Set Free.” Don’t get excited; it isn’t turning
into a revival. Other cuts include the tender “That’s the Story of
My Eife”, the mysterious “The Murdery Mystery” (complete with
narrative), and “Afterhours.” The last two are very much like
something that you might expect to find on a Mothers’ album. But
that’s ok.
You've probably seen picUircs of Misty Moore before; you may
have even seen Miss Moore in person. She was in Charlotte not too
long ago. Well, she has just made her first album, on the Pzazz
label. Misty is a fortner actress who is enjoying a pretty smooth
transitioti to singer. Her style on I'lllS GIRL'S IN LOVE WITH
YOU is dilficult to describe, but that is not to say that it is trot
good; it's refreshitig. She doesti't really do a good job on the
album's title tune, btit she makes up for it with her cool
presetitalion of several sotigs on the allnnn that were written by
Charlotte's l.ootiis McGlohon. “You Stayed Away Too Long" and
"Whett Summer Dies” are two of these. Miss Moore does not excel
when she attempts to slow down the pace without subdueing her
brassy voice, but she will surely come into her owti once she has
settled down to her own style. "Windy Curtains", perhaps the best
cut on the albutii, is a hauntitig melody of lost love and
exploitation. Jitu Webb's "Lucky Nle" is as good as we have
leartied to expect from the young composer/tuusician. atid it tnay
tContinued on page 6)
Well-Known
Swami to
Speak Here
A nucleus is like right down in the core of a thing where it’s
essence can be realized in its purest form, like where your head’s
at. It is also an electric group (the instruments, not the singers)
and an album. From the nature of NUCLEUS, I kinda think that
there's a real close connection between these two kinds of nuclei.
The sounds laid down by the group really get right down to where
it's at. "Jenny Wake Up” really strings out a simple thought - wake
up, and come on over to me - with some complicated vocal and
instrumental effects. “All About Me and the Spidery Bass” and
“Judgment Day" are woven through and through with sparkling
tnsirumcnialization. The final movement in “Judgment Day”
explains the title in its clituatic finish. By the time the group
finishes with “Eost and Found”, "Share Your Colour" and
“('omtminicaliott", they all begin to sound alike, and the listettcr
begins to question whether a nucleus cati be something that big.
Despite the satneness of many parts of the album, portions of
"Share Your Colour" and “Conmiunication” really shitie as origitial
tnoves. All the sottgs ott this mainstream release were written by
Greg Fitzpatrick, who seems to have some insight into both the
social and tnusical probletns of today.
Jazz Trio
Lays Down
the sounds
Ross Speaks on
Architectural Design
One of India’s most learned
Hindu Swamis will visit UNC-C
for a lecture and “On Campus”
show shortly after Easter.
Swami Ranganathananda, a
member of the Ramakrishna
Order and member of the
Vedantic tradition revitalized by
Shri Ramakrishna in the
nineteenth century and furthered
by Swami Vivekanada, will
speak in room C-220 at 11:30
on Friday, April 11. The topic
of Ranganathananda’s lecture
will be “Man’s Spiritual Life in
the Light of Twentieth Century
Scientific Thought.” This former
President of the Ramakrishna
Math and Mission at Karachi
and lecturer at Delhi University
has toured the world giving
lectures and has worked with
UNESCO for several years.
The Swami has published two
books - ETERNAL VALUES
FOR A CHANGING SOCIETY,
a collection of his essays and
lectures, and THE MESSAGE
OF THE UPANISHADS, a
six-hundred page message on the
traditional Hindu texts.
Ranganathananda, who speaks
fluent English, will lunch with
Project Opportunity members
following the lecture.
Mr. W. Crutcher Ross, an
architect, spoke last Monday,
March 24, for the New Arts
Festival. Mr. Ross’ topic was
“The New Look in Architectural
Design.” In Mr. Ross’ words,
“Architecture should work for
man, not man for architecture.”
He explained that to increase
community participation,
Charlotte should build more
commercial and educational
facilities along with more public
gathering places for all citizens.
One of Mr. Ross’ present
plans for Charlotte is the Sugar
Creek Canal. This would not
only alleviate problems such as
the creek’s flooding, but it
would bring beauty and interest
to the city. The canal is being
planned like the San Antonio
canal which has barge traffic,
picnic areas, outside threaters,
paddle boats, and lovely foliage
all along the canal. The San
Antonio canal took about three
years to complete, and he said
that the plans for the Sugar
Creek canal should be complete
in two or three weeks. The
plans include having the canal
run from Princeton Avenue to
4th Street. Since every twenty
years there is a terrific flood of
the creek, the plans include
three dams—one at Freedom
Park, one at the hospital
complex, and one at the
Charlottown Mall. Walkways will
run the distance of the canal so
that one can walk along it
without going into traffic. Mr.
Ross explained that taxes will
pay for the canal in six to ten
years.
Other future projects for
Charlotte include the Blue
Heaven Project which has
already begun. The project
includes a lake proposed to go
through the low land and a
waterfall. Also a “platform-city”
is planned for Charlotte’s future.
Gardens will be atop buildings,
then shops will be on the next
level, below the stores will be,
parking, and below the city
subways.
Mr. Ross explained his plans
to the audience and added that
they may sound fantastic, but
that if its possible for a man to
create a Japanese Garden out of
a city dump, then all of the
plans for Charlotte are possible.
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Sunrise
Service
on Easter
ACLU
Lawyer
Discusses
Freedom
(Continued from page 11
mean it. This Sunrise Service
will not be the traditional
liturgial-preaching service.
Underwood believes this service
is a thing of the past, or, at
least, he says it has no place on
a vibrant innovative
contemporary university campus.
It was pointed out that the
campus setting provides a
ready-made opportunity for
experimentation with new
hturgical forms.
The Jim Lackey Trio turned
out to be one of the real hits
of the New Arts Festival. The
only four member trio around
played a strong hour of hot jazz
in the Parquet Room from noon
to one last Wednesday. The
performance included a cool
version of “Double Oh Soul”
featuring Vic Fulcher on the
keyboard. One of the real
highlights of the set was “Merci.
Merci, Merci.” That's “Mercy,
Mercy, Mercy" for the
unilinguals in the audience.
They knocked us off our feet
all right. After the number, Jim
said. "It kinda makes people
wanta touch one another, don't
it." Then came "Star Dust"
during which Lackey really lost
himself on the percussion as the
drums seemed to become the
world for him. He probably
didn't know we were there, but
we knew that he was. Willie
Grllon on the alto sax and
George Seegers on the bass
complete the company. George
put on quite a show himself as
lie loved that instrument mighty
tine. The sound put down by
the group might be called
"hard" but not "pure" jazz; all
the audience knew was that it
was good. Lackey thanked the
audience for its receptivity after
the concert and said that he
hoped to be invited back.
Mr. George Daly, an attorney
with the American Civil
Liberties Union, spoke to a
student-faculty group in C-220,
on March 26, 1969. His
introductory remarks were
outlining the history of the
A.C.L.U. According to Mr. Daly,
the American civil liberties
movement was impeded by the
American interpretation of the
freedom of contract. Companies
were hiring children to work in
mills, under deplorable
conditions, but the federal
government claimed it had no
right to intervene due to the
freedom of contract. Under
intense public pressure, the
courts overruled the
fundamental freedom of
contract, and asserted that the
freedom of decency was of
greater value to society.
During the l^30's, U.S.
courts began to display a new
willingness to decide issues
between people and the
government. One of the most
famous trials of this era was the
"Scopes Monkey Trial”. The
defending attorney was an
A.C.L.U. attorney, Mr. Clarence
Dorrow. During the 1940’s, the
A.C.L.U. attention was directed
towards workers, and their right
to form unions. During the
latter part of this period, their
attention was again diverted to
protecting members from their
Union. (Continued on Page 5)
So what’s new? As explained
to the JOURNAL the service
will begin with a liturgical jazz
prelude played by the
Independence High School Jazz
Ensemble. This combo will also
play the postlude. The first
piece of music will be
“Intermission Riff’ by noted
jazz artist Stan Kenton. The end
piece will be “Hanna’s Blues
No. 6” by Bill Hanna.
Linda Perez, vocalist with the
Loonis McGlohon Orchestra, will
be featured as a folk singer and
will lead the congregation in
some group singing including the
now popular African folk song,
“Kum Ba Yah.”
In case of rain the program
will be held in the Parquet
Room of the University Union,
file Sunrise Service is open to
the public. It begins at 5:44
A.M. The off-beat time is to
help you remember the starting
time, according to Underwood.
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Another unusual feature of
the program, and one which
Underwood admits has been a
“stumbling block” to some of
the preachers is a choreographic
interpretation of the Lord’s
Prayer. A group of UNC-C
students under the direction of
Mrs. Thomas Stockton will
interpret this traditional prayer
with a non-traditional liturgical
form. To help the preachers and
possibly some of their
congregation get over the
stumbling block, the dancers are
being called a “motion Choir,”
and the program lists the Lord’s
Prayer with the rubric “In
Motion.”
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