Newspapers / Salem College Student Newspaper / March 13, 1959, edition 1 / Page 3
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iFriday, March 13, 1959 THE S ALEMITE Page Three U e: Beautiful But Efficient.” She: ^‘Swingin’ But Sharp.’ By Carol Doxey A sound floats out of the piano and achieves a curious intercourse in imitations with a sax; a drum mer brushes in the beat and the bass ties it up with strong brown fingers. Then it is thrown to the audience who catch it and examine It with awe ajid give it back to the four on the stage. The circle of inspiration is complete and “now you has jazz.” The man at the piano is Dave Brubeck intensely improvising sounds which send chills through the audience, which responds with open-mouth applause, is smiling to himself in amusement at something Desmond has just told him in the dialect of saxophone. This is the reason, says Dave, that he smiles, for these four talk to each other with sounds—For instance: Morello lost his watch about two weeks ago and for the next two days Desmond would throw a snatch of “I didn’t know what time it was” into his riff. “Man, I’m beat,” said Brubeck, “but it’s belen a good audience, con sequently a good concert. You know, we derive a lot of inspiration from the audience”. Or in the w'ords Paine Calls Brubeck Bad Jazz Man Steve Paine, Salem’s jazz am ateur-authority, was disappointed with the Dave Brubeck concert last week. All of his reasons for his leaving early could be summed up in four words, “I don’t like Bru beck.” He then said that, generally, the Brubeck group plays off-beat, incorrect jazz (he experiments with classical forms in jazz format) and tries to please the people. At the Salem concert, Mr. Paine thought that the quartet played “re markably badly—as usual, off the beat.” No one played as an en semble. When one player took the solo, the others faded out, doing things of no consequence, especially since they couldn’t be heard. With the open-armed reception of ,the first poorly executed number, the quartet realized that “these people would like anything,” and continued to “cut-up.” 'The best man was the bass player —“he was keeping time for the drummer” —and playing “interest ing stuff.” But, Mr. Paine ob served, he would be better with a quieter group. Even when taking into consideration the gross acous tical defects of Memorial Hall, the quartet was too loud. They didn’t need the P. A. system. It was only used to balance the group. IjAbout the sax player. “The alto sax man is lyrical in tone and man ner. This is not jazz quality! The drummer “played quite a bit to show off. He would rest for several beats, then hit the cymbals once. It’s weird, but it’s not jazz.” jMr. Paine much prefers the jazz styles of Miles Davis, Gerry Mul hjgan, Charlie Parker, and Dizzy Gillespie. of Eugene Wright, who played bass and who said when I asked him about the audience, “Man, it’s like you understand)” Brubeck derives his inspiration from a mixture of classical counter point, the audience, a sound that Morrello, Desmond or Wright might make or, as in the case of the riff he took in “The Foolish Things,” he plays a song that’s been on his mind recently. Here he used the theme from “The Flower Drum Song” which he had seen the night before on Broadway. “You know,” he said, “it’s like if you’ve been playing Bartok all day, he’ll come out in the performance that night.” One of the most remarkable things about the group is what might be called their miraculous “togetherness” or an almost intan gible understanding w h i c h runs through, fitting the improvisation into an understandable whole. Technically, according to Bru- (heck, they all build on a basic framework comparable to a ground bass of Bach and go “way out” from here, eventually returning to practical intervals or because they know when to because of long asso elation with each other. Desmond says this. is the main reason he likes playing with Bru beck, because it’s a challenge. He explains his unmistakable sound by saying, “I play wrong”—hardly, Mr. Desmond. He and Brubeck met after the war and have played to- i gether since 1950. He improvises I even when imitating playing “just what he feels.” Some of you may have realized when he changed his “Dancing Mood” riff somewhat. Mr. Desmond described Salem girls as being “not only beautiful, but remarkably efficient,” and may we return the compliment by saying that he is not only “swingin’ but remarkably sharp.” I mean, like, Endsville. The group was perhaps best sum med up by Gene Wright, who said, *Tt’s just like everyone of us likes to play, and man, it’s like we don’t do nothin’ we donT like!” Like, 1 mean man, we like! Wake Forest GleeClubTo Entertain The Wake Forest Glee Club, directed by Dr. Thane McDonald, will present our chapel program on March 19th. Because of its variety of serious and entertaining numbers, we are anticipating a most delightful pro gram. Following the sacred group, which includes some Negro spirit uals, will be a lighter, secular part. Featured in the second half will be “The Grasshopper”, a take-off opera. The performers «f this skit are ; Martha Teachey, soprano; Edna Haynes, alto; Buddy Goffriey, tenor, and Roy Hughes, bass. The accompanist is' Ramond Ebert and Dr. McDonald is the narrator. It is interesting to note that this performance is the first of a two- day tour. On Thursday night, the glee club will be at the Wilson First Baptist Church in Wilson and on Friday they will conclude their tour with two performances. Salem AAUP Will Discuss Education On Wednesday, March 18, the Salem Chapter of the American As sociation of University Professors will hold their regular meeting. The A. A. U. P. is the professional or ganization for university and col lege professors. The Salem Chap ter is made up of those professors who are members of the A. A. U. P. here at Salem. The meetings serve as a discus sion ground for various problems relating to the education field. Such topics as the raising of educational standards in the United States, problems of academic freedom, and legislation pertaining to education are among those discussed. Dansalems Attend Arts Festival, Elect Officers Dansalems recently elected new officers for' the coming year. Alta Lu Townes is president; Henrietta Jennings, vice-president; Kay Pen nington, secretary; Dot Smith, treasurer; Suzanne Taylor, publi city chairman; and Trisha Weat hers, WRA representative. Immediate plans for the club in clude participation in the Greens boro Arts Festival on Friday and Saturday, March 13 and 14. On Friday afternoon June Gentry will take the Bach “Prelude and Fugue” to be criticized for the choreo graphy point of view. Martha God dard, choreographer, will be joined by Sarah Ann Price and Jea'n Smitherman in an interpretation of a Bach four voiced fugue. ' The critic is Lucas Hobing, lead ing male in the Jose Linon Com pany. This Comiiany is the meet ing ground of modern dance and ballet. Miss Gentry is quite en thusiastic about the merit of Mr. Hobing. He was teaching at the Connecticut School of Dance when she was there and she remembers him as being a very exciting, healthy, untyped dancer. On Friday night, instead of the usual professional concert, some of the groups who danced on Friday afternoon will be asked to perform. The groups will be chosen in order to give the concert variety. Miss Gentry is pleased that the MORRIS SERVICE Next To Carolina Theatre • • • • • Sandwiches—Salads—Sodas “The Place Where Salemites Meet” ten girls who attend the Master Class on Saturday will be exposed to another phase of modern dance. The girls attending this Master Class are: Alta Lu Townes, Hen rietta Jennings, Sarah Ann Price, Trisha Weathers, Jane Pendleton, Sarah Lou Richardson, Margie Foyles, Kay Pennington, Jean Kane, and Agnes Sende. Jan Rubes Sings Boris For Symphony Mr. Jan Rubes will appear with the Winston-Salem Symphony Or chestra on March 17. Mr. Rubes, born in Czechoslovakia, is a bass- baritone. He is a member of the Columbia Artists and has sung with the New York Civic Opera. He will be assisted by the Winston- Salem Civic Chorale Society, under the- direction of Paul W. Peterson, in their first appearance this year. Mr. Rubes and the orchestra will sing excerpts from Moussorgsky’s tragic opera “Boris Godounoff.” The action in this opera is laid in Russia and deals with the last years of Boris Godounoff, (c. 1551- 1605) Czar of Russia. He was sus pected of having murdered the Czarevitch Dimitri, son of Ivan the Terrible, in order to secure the thronle. A pretender, a monk named Gregory, who claims to be Dimitri, heads an uprising against Boris. The people acclaim Gregory and Boris, half insane, dies in the midst of the excitement. The orchestra, under the baton of John luele, will open the concert with Hans Kindler’s orchestral arrangement of Taccaco by Fres- cobaldi, followed with Mozart’s Symphony No. 39 in E flat major. The program will be held in Reynolds Auditorium at 8:15 P.M. 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Salem College Student Newspaper
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March 13, 1959, edition 1
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