i:
Tuesday, April 24, 1984The Daily Tar Heel5
Boilings new album
features young cellist
French jazz pianist and composer
Claude Boiling, like his earlier
American counterpart George Ger
shwin, has made a career of fusing
jazz and classical forms of music.
Boiling's latest album, recently releas
ed on the CBS Masterworks label,
continues this career with an enjoyable
performance of the composer's Suite
for Cello and Jazz Piano Trio.
This work is the fifth in a series of
suites for Boiling's piano trio and in
strumental soloists. Earlier works
featured violinist Pinchas Zukerman,
guitarist Alexandre Lagoya and
trumpeter Maurice Andre. A Suite for
Flute and Jazz Piano, recorded with
guest artist Jean-Prerre Rampal in
1975, remains a best seller.
For his guest on this recording,
Boiling chose the 29-year-old sensa
tion Yo-Yo Ma, who is now in the
25th year of his career as a cellist.
Boiling's own trio features Marc
Michel on bass and Jean-Luc Dayan
on drums.
The suite as a genre was born in the
baroque period as a collection of
dance movements, all in a single key.
Modern composers more frequently
ordain that the suite is anything they
darn well want to make it. Boiling
combines the best of both ideas in his
cello suite, but dance names still figure
prominently in the titles of his suite's
six movements.
"Baroque in Rhythm" opens with a
jaunty fueue as Boiling echoes Ma's
cello statements. A set of jazz varia
tions on the fugue's theme follows,
and a lively beat propels the move
ment. The melody alternately plunges
and soars, giving the music a sense of
spaciousness.
In contrast to the first movement,
"Concertante" begins with a moody
cello solo over sketchy piano chords.
The entrance of the bass and drums
gives the movement a little more
momentum. This miniature sym
phony, with several different themes,
builds to a dizzying, breakneck pace at
its climax before recapturing the open
ing mood.
Bouncy rhythms punctuate a
sometimes flowing melody in
!!
Jeff Grove
Review
"Galop." Drums are as prominent
here as Boiling's rich piano har
monies. The catchy, unexpected syn
copations and changes of meter keep
the listener on his toes.
A restless solo cello part opens
"Ballade," covering, fragile piano
underpinnings. This gentle music
evokes a frosty winter scene that is
later dispelled by a summertime fan
tasy of nimble playing from both Boil
ing and Ma, who embellish a fours
quare melodic line. This movement is
a nice study in contrast.
The fifth movement, "Romanti
que," is arguably the best. Boiling's
heartfelt, yearning initial phrases
receive an answer from Ma's calm,
assuring music. The piano eventually
falls in line with the cello for a con
tented, low-key duet. The music
becomes a little more upbeat at the
end, adding a feeling of hope.
The finale movement, "Cello Fan,"
closes the work in ihe same bustling
manner that "Baroque in Rhythm"
opened it. Both solo parts feature
angular leaps and dreamy high
passages in a witty interplay.
The only possibility this suite fails
to realize is solo work from the bass
and drums. Dayan and Michel make
their presence known as best they can,
while Boiling and Ma distinguish
themselves handsomely. It is not hard
to picture them grinning and tapping
their feet; they sound like they're hav
ing fun.
The recording is closely miked in a
dry acoustic, giving the whole album
an intimate feel, almost as if the per
formance were taking place in some
out-of-the-way nightclub in Paris.
The Suite for Cello and Jazz Piano
Trio should be a hit with both jazz and
classical record buyers. And on the
basis of this recording, Boiling and
Ma should have no trouble finding
work together in the future.
The Style Council's music is simple and honest
The Style Council makes the rules and tunes worth
listening to on the band's first full-length album, My
Ever Changing Moods, the follow-up to last summer's
EP, Introducing The Style Council.
Paul Weller, former leader of the neo-mod English
supergroup The Jam, and Hammond organ whiz Mick
Talbot are The Style Council.
The band creates a jazz-influenced Motown sound, a
feeling of a time and a place long passed if it ever ex
isted at all. And the group does it with style, a style com
plete with image but still simple and honest.
Check out the title track, "My Ever Changing
Moods." It moves with magic and hope to Talbot's elec
tric piano, Weller's enthusiastic vocals, Pete Wilson's
funky bass synthesizer and the amazing trumpet of Bar
bara Snow and sax of Hilary Seabrook, which stand out
on a number of cuts. '
Check out the new versions 5f "The Paris Match" or
"Headstart for Happiness," both originally released on
the EP.
The first versions of these songs captured themselves;
"Headstart" was recorded in one take. But the new ver
sions are just as essential, just as honest and just as
perfect, because for The Style Council, there are no
perfect songs, just perfect feelings and moods created by
letting loose.
Louis Corrigan
Review
The new album version of "The Paris Match"
features Tracey Thorn on lead vocals rather than Weller,
and Talbot on nightclub piano rather than upbeat organ.
It is a slow, lonely, sad tune of a love, a time, a place and
a feeling; a Paris cafe, a bottle of wine and a cool sum
mer breeze.
The album version of "Headstart for Happiness"
rings jazzier and even more uplifting than the original.
Seabrook's sax and Snow's trumpet replace Talbot's
organ. Talbot plays background piano. Weller plays
electric rather than acoustic guitar and shares vocals with
D.C. Lee.
My Ever Changing Moods includes just that, a
number of successful and not-so-successful mood tunes.
Among these are the jazzy "Dropping Bombs on the
White House" and the string-supported "Blue Cafe."
As Weller . discloses with tender vocals on the lazy
sounding "You're the Best Thing," "I may get it wrong
sometimes but I'll come back in style."
Style does not mean putting on. It means being truth
ful and striving for dreams. As Weller expresses in the in
fectious sax tune "A Solid Bond in Your Heart,"
"Heart it's what's missing from this life And the
trust you need to ignite any dream worth holding."
Weller disbanded The Jam because the rock heights
the group had reached were restricting his personal
growth. Since Jjhe breakup, Weller has placed his trust in
various forms of black music.
Motown soul, jazz, R&B and even gospel music have
brought The Style Council to what may be the forefront
of a movement toward music purification. While punk
had too much anger and New Wave techno-pop has too
little emotion, The Style Council has the feeling of feel
ing. The band is not so much revivalist as it is a step
toward new, purer values. Thus, paradoxically, the new
age of poprock may be coming from the intrinsically
pure music of the past.
As Weller sings in "Headstart For Happiness," "It's
healthy to find all these feelings inside As I get on my
trek with a headstart back to truth."
Weller led The Jam for six years, but he's only 25 and
popular music is always searching for a leader and a
future. If The Style Council is the answer, let the future
begin now.
Film series aims to serve community
baSeball Frompage
1
By STEVE CARR
Staff Writer
Managing a theater usually means do
ing the economic juggling act of booking
sure-fire box office hits. Bill Cash,
manager of the Carolina Theatre in
Durham, sees things differently. "We're
not just a commercial theater. We serve
the community," he said.
A series of film classics, "Six by Fox,"
is the first of many such series that Cash
plans to schedule. While not as commep
cially viable as Cash's regular features,
the films still have specialized appeal to
the community.
The "Six by Fox" series comprises six
films either distributed or produced by
,20th Century-Fox during the 1940s and
'50s. All the films are indicative of the
classy, glossy style associated with the
studio.
While two of the films, All About Eve
and Laura, have already been shown,
The Grapes of Wrath is scheduled to be
shown Wednesday at 3 p.m. Bringing Up
Baby will be shown April 28 at 4:30 p.m.
and April 29 at 2 p.m., with weekday
matinees at 2 p.m. The following week
Gentleman's Agreement will be shown,
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and The Hustler will close out the series.
All three films share the same showtimes.
Just as in the "Golden Age" of tele
vision in the 1950s, many theater owners
are fearful of that medium once again. "I
think the advent of cable has actually
helped" Cash said. "Seeing the film on a
small screen makes you want to see it on a
big screen all the more." The prints for
all the "Six by Fox" films are newly
struck and in 35mm format.
Out of all the films, The Grapes of
Wrath most deserves a big screen show
ing. Directed by John Ford, the film has
all the poetic sweep and grandeur of the
master's westerns. Yet for years it went
unnoticed by his fans because it was a de
pression drama and not a horse opera.
Bringing Up Baby is a quintessential
Howard Hawks screwball comedy. The
film is fast-paced and wacky, with the
dynamic teaming of Katherine Hepburn
and Cary Grant to boot.
The weakest of the films, Gentleman's
Agreement, is still indicative of the glossy
social commentary statements studios
were making during the late '40s. The
film deals with a writer who poses as a
Jewish person to expose anti-Semitism.
Paul Newman stars in the classic pool
hall drama The Hustler. Robert Rossen,
long unrecognized as a brilliant director,
finds a suitably sweaty and claustrophobic
style.
Cash has planned a future series of
musicals including Help!, A Hard Day's
Night, Singin ' in the Rain, Meet Me in St.
Louis and Stormy Weather.
Coinciding with Durham's American
Dance Festival this summer will be An
American in Paris, The King and I,
Yankee Doodle Dandy and Tfye Red
Shoes.
The Red Shoes has a special signifi
cance to Durham, Cash said, since it was
so popular when it first came out in 1948
that it played a then-unheard-of six
weeks. Cash claims this is one of the
reasons why dance is so big in Durham
today.
Support the
March of Dimes
HHBBIRTH DEFECTS FOUNDATION bW
the 9-4 win.
Other highlights were center fielder
Glenn Liacouras' .467 batting after an in
jury had slowed down his regular season,
and the performances of , new comers
Matt Merullo and Paul Will. Merullo, a
freshman, started all five games at cat
cher and hit .316 with a' home run, while
junior college transfer Will hit .300 for the
tourney.
But it was fitting that the senior
Wilkinson win the tournament MVP
after hitting .471, with four home runs
and 10 RBIs, including three home runs
against Wake Forest Wednesday.
"He couldn't have played a better
tourney," McCleney said. "Todd is one
of the most determined human beings
I've ever known."
Asked later if he thought a month-long
layoff before the NCAA Regionals start
(against an as yet undetermined oppo
nent) might hurt the Tar Heels, Wilkin
son responded quickly.
"We would like to go to Omaha very
much," Wilkinson said. "As seniors, it's
up to Jeff, Mitch and myself to keep
everyone motivated."
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