Newspapers / Daily Tar Heel (Chapel … / Dec. 8, 1978, edition 1 / Page 12
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4 Weekender Friday, December 8, 1978 A catalogue of ciirreiit cults for Ghristmas ivin By MARK PEEL Asking a critic to compile a Christmas list is like asking Scrooge to pick out a turkey, one is likely to be disappointed with the results. Those of you who read my review of Eric Clapton's Backless probably question whether even a crumb of Christmas spirit could survive in the steely recesses of my cold, cold heart. Let me assure you that I am, indeed, capable of harboring a certain amount of holiday cheer, despite the advancing cold weather that finds me without even a decent overcoat. I only hope that I don't exhaust my store of goodwill in preparing this brief catalog. Stan Getz: Another World - Bill Evans Trio with Warne Marsh and Lcc Konitz: Crosscurrents ' Pete Christlieb and Warne Marsh: Apogee Dexter - Gordon: Manhatten Symphonie A pattern runs through these four tenor sax dominated albums: a refusal on the part of the musicir.ns to capitulate to the temptation to go after the quick buck. Each album is an eleiant rebuttal to fusion-jazz's claim to legitimacy, and it is encouraging that each appears on a major label that has invested heavily in the jazz-rock market. Stan Getz's Another World presents the most consciously conceived argument for jazz as something more than merely electronic foot-tapping music. Getz states his case by employing the very weapons of fusion to expose that genre's deficiencies. Although he plays an unadorned tenor for most of the album, Getz uses a Digital Delay with Moog Echoplex on several cuts to "out Klemmer Klemmer" as one band member put it. Getz lifts the equipment above gimmickry, creating improvisations of stunning harmonic richness. Both Apogee and Crosscurrents feature the tenor sax of Warne Marsh in single and duet improvisatory settings. Marsh developed his rhythmically sophisticated (not to mention complex) style playing in Lennie Tristano's post-bop groups. But where- Tristano positively prohibited swinging, Marsh found new ways of doing it. On Crosscurrents he teams with another Tristano cronie.the brilliant Lee Konitz, as the front men for Bill Evan's trio of Eddie Gomez and Eliot Zigmund. Evans, of course, is among the most graceful and i 1 1-4 a" Another World' IIkQDD0:i B -Y0u-can-eaf Spaghetti Dinner Includes: : . Special meat sauce Parmesan cheese Toasted Grecian bread All-you-can-eat Fried Chicken Fiiots Includes: Boneless filets of all white meat. Sweet 'N Sour Sauce French fries Toasted Grecian bread Doth include All-ycu-ccin-oat Salad Dor Make-it-yourself from .21 items including garden-fresh vegetables seasoned croutons crackers choice of dressing. Shoney's will offer this special Mon. &Tues. nights Dec. 11 & 12; 18 & 19. And Shoney's wishes everyone a very merry Christmas. At Chapel Hill Store 132 W. Franklin St. 929-2115 YcuYq gonna lovo m m M irecoircys eloquent of jazz pianists. Crosscurrents is a synthesis of cool lyricism and post-bop cerebral swing. The. duet between Marsh and Konitz that introduces Cole Porter's "Night and Day" is a splendid example of the subtlety and magic of these twornusicians. Apogee shows us another side of Warne Marsh. The hard-swinging album's decidedly bebop orientation presents a marked contrast to the warmth of Crosscurrents . This album pairs Marsh with Tonighf Show soloist and , Tom Waits sideman Pete Christlieb, a straight-ahead swinger. The unison blowing on this album is smooth and precise, demonstrating awesorhe technique. Hard boppers can't afford to ignore this album, as no one else seems to be playing bop these days. A great, gift for anyone who misses Charlie Parker. Finally, Dexter Gordon's Manhatten Symphonie displays the lyrical tenor of the "repatriated" saxophone giant.-The album is slanted toward ballad-tempo material, the effect being a ..kind of swinging impressionism. Even the generally up-beat Coltrane standard "Moment's Notice" is handled more gently than I've ever heard it. Remarkably lush for ah ensemble this size (Gordon is fronting a quartet here, featuring the compositions and piano of George Cables along with the standards rendered), 'Manhatten Symphonie is emotive and engaging. Bobby Hutcherson: Highway One It's difficult to be number three on an instrument for which only two musicians are universally known, but vibrophonist Bobby Hutcherson is a victim of such an unjust - ptMOtiut zwimmtM claim mkum suits vieun- jazz tnio i-f J I Suite for Violin and Jazz Piano' misfortune. It is only in popularity, however, that Hutcherson is eclipsed by Gary Burton and Milt Jackson, for Highway One is a soft, suggestive album of exceedingly rich tone color and melodic interest. Hutcherson is backed on the album by Hubert Laws and Freddie Hubbard, two musicians of unquestioned ability if somewhat inconsistent output. This album also features George Cables on piano, and Hutcherson performs three of Cables' compositions. The only time I've ever seen Cables live, he was playing with Freddie Hubbard and was pitifully drunk. It's nice to see him amounting to something. Claude Boiling: Jazz Piano Suite for Violin and Sequels are almost never as satisfying as the originals that spawn them. I learned that hard lesson sitting through all eight offspring of Planet of the Apes. Now and then, ? 5' - -oi it t fc.i i, : ,- i ITS see RECORDS on nanP fi 7 4 AuM i e, a, r t !. a . ... , i..; 9 W"Jlff it' '. km -A -; 4 i ink m mmm i 4,J 1 jr W Hi H- r S I 1 . '"TV. i. m a THAI . m r m ,. J J ei a z o giJ Jcf i 1 a oof e Sri :ZW0$W$9WkW0M BI WSf II S'i;p Wi II; S; fS if i- "; f $M WiSi&XM: W WflfllSllSt lf: f? 31 1'! f Sllfl :s 1 llJi'i 't h'W :if -ft? 1331 4 Ss'::r'Mii3-TV:o i;CCATif4a,-4 3 ..... It- t FrsrjMifs C f3 - ' Fficir 3 "rsnvi.'Ii Towers CutI rslo i, l-.C. -4 LMJ& of Chapel Hill
Daily Tar Heel (Chapel Hill, N.C.)
Standardized title groups preceding, succeeding, and alternate titles together.
Dec. 8, 1978, edition 1
12
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