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Show trk City News Thursday, May 26, 1983 Page B5 MW ItffeTI fl gfn ft Patio open daily for lunch Come and sit in the sun. Enjoy our food, a scenic view and friendly service. Open for dinner nightly except Monday. 649-7177 Soul survives in the Eighties mm ' w..... ---0 - -r . . sfc Randy Romance, currently cur-rently of the infamous Joe E. Boots and the Heels, has agreed to join the Dyna-tones. ' f " Located at the Golf Course I. I - ? i I -' -Pi (- , j .1S i ! Due to popular demand we are going to continue our J ' il- I u (- j nsn nn n Good thru May 3ist 1983 S ' I 1 ' -! v 51 II I III I It's the best meal going! 1 i4r I iS- i U Our 100 pure beef single NJf I LJAS crispy golden fries your . 8 UVWwr,J favorite small drink and I Jj3i; ! fTsNfP A fl top it off with a cool J I Oi 5, f L and creamy Dairy Queen g jr -(1-v3 M regular sundae. 1 I t Park City's I Hwy 248 & Bonanza DriveWly S I Prospector Square by Curtis Willey In this time of Rock-A-Billy revival, punk and good ole rock 'n' roll, I'm pleased to see a form of music not overlooked. Soul. Soul, Motown and R & B are all forms of music bred in the Sixties and still being played by the likes of the Dynatones. The Cowboy Bar highlighted high-lighted yet another fine act Friday and Saturday night. The Dynatones really cut loose, allowing the audience to do the same. I don't believe the dance floor has been as crowded for quite some time. With songs like "Tighten Up," "Knock On Wood," and "Boogaloo Down Broadway," it was easy to work up a sweat dancing the Mashed Potato, The Twist, and the Jerk: I even had time to throw in many other spontaneous gyrations. The Cowboy Bar has an extended ramp built onto the stage. Its purpose has been to accommodate the exotic istic tendencies. However,! with no skin show in sight, they soon left for greener pastures. The band itself was great, top-notch performers all. Their collective experience and credits are considerable, having played with EJvin Bishop, John, Lee Hooker, Albert Collins, Luther Allison, Alli-son, Jerry Lee Lewis and more. Flash The word is official. Randy Romance, currently of the infamous Joe E. Boots and the Heels, has agreed to join the Dynatones. I believe both the band and Mr.. Romance, have made a good decision. Randy's stage presence and style lends itself greatly to what the Dynatones are all about. Randy will replace Steve Parks, the current bass player, who is going out on his own. :" . 'Step i'asgoed perfornlef ? m .in own rigm. a soon-to- male and female dancers " be-released album by him' presented from time to time, entitled "Movin' in the Right Friday night some misinformed misin-formed female patrons had every available seat around the stage. About three songs into the set the women expected front man Charlie Owen to take it off. He did what he could to Direction" is bound to b$ worth checking out ", The Dynatones with Randy ; Romance will be playing the Zephyr in Salt Lake sometime some-time in July. Keep your eyes and ears open for that one. ' , . " To an old Motown believer, . guys' music, to a bunch of appease their more animal-, 4 $ie Dyjaones jjggrsenyjje4 .oikiesj ina pjace called the '-AiJi.' V 'V-JW' .jjnnsQ .fcdflblW IBlljuiiK :' yi-n"? ifv (i ill impact of blacks on popular music in the Sixties. To witness a bunch of white guys, playing black Charlie Owen Cowboy Bar in "Utah just shows to go ya the power of the sound lives and thrives on just what it is ... soul. Catch the Dynatones but more than that, stay open to photo In .Shar on 1'ain the feel and belief in the music that still keeps you dancing. The power of music is in your ears. The power of soul is also in vour feet. MLUDS by Jay Meehan He plays more than music; he plays Keith Jarrett by Jay Meehan The enigmatic Keith Jarrett Jar-rett performed one of his now famous solo piano concerts con-certs at Salt Lake City's Capitol Theater Friday evening. even-ing. As has been his recent custom, Jarrett fascinated the audience with his im-provisational im-provisational music while perplexing them with his somewhat demanding behavior. be-havior. Jarrett's background as child prodigy and integral member of landmark jazz groups headed by individuals indivi-duals like Charles Lloyd and Miles Davis, coupled with his recent award-winning solo piano recordings, has garnered gar-nered him huge critical and public support. But seemingly it is not enough to be recognized as one of the most complete pianists of our time. In recent years he has token it upon himself to interrupt his performances with brief, sarcastic, yet humorous, lectures lec-tures on neural control as it relates to social conduct. Friday's subject was his favorite coughing. But to really appreciate his timing, or lack thereof, one must view his small aberrations in the context of his performance. perform-ance. Jarrett's solo concerts consist con-sist of two 45-minute improvisations improvi-sations without a theme, divided by an intermission. That is to say, he confronts the piano, deliberates on an opening riff and, utilizing the myriad of musical disciplines disci-plines at his disposal, composes com-poses new and seemingly . impromptu tone poems as he is playing them. A typical progression might flow from a soft ballad to a double-time vamp to a lusty boogie to eastern, classical to a fugue-ish rondo ' to Thelonious Monk-like dissonance dis-sonance to a set ending exaltation embellished by chords rich in the spiritual jazz tradition. Throughout, he exists to--, tally oh the edge, blatantly daring his mihd-emotion-finger lineage not to flow. The emotional ' stimuli which drives Jarrett's music oftentimes appears to bypass his brain completely, gaining almost immediate manifestation on the keyboard key-board , ' It is total flux. His forehead fore-head hangs just off the keys, then he leans back to almost a full layout, then he's on his feet, swaying. All of a sudden this ethereal music stops as Jarrett, whirling on his piano bench, says, "Would everybody every-body cough, please?" Throughout, he exists totally on the edge, blatantly blatant-ly ddrlrig " " his mind-emotion-finger lineage not to flow. These emotions, accented by gyrations, grunts and foot stomping, come across as free, open and unguarded as he seems to go from confessional confes-sional to analyst's couch to a total serenity free of angst. , One of us had interrupted his therapy so, by God, he was going to interrupt ours. The air is much more cerebral now, both on and off stage. But he gets away with it, resuming the concert with right and left hand rolls creating a new universe of harmonics. It's as if we are living inside the chords themselves. The disciplines apparent here are many: classical, jazz, impressionism, surrealism sur-realism and at times even Jungian. Definition, however, how-ever, subtracts from what is actually just the virtuosity of Keith Jarrett. Although it is difficult to remain attentive throughout some of his rambling sections, sec-tions, and although concentrating concen-trating on not coughing is somewhat akin to EST potty training, one leaves with the knowledge of having been in the presence of genius. Jarrett even served up -short dessert to the Salt Lake audience. It arrived as a seldom-given encore to his solo concert and the only structured piece of the evening, a beautifully poignant poig-nant jazz interpretation of "Over the Rainbow." Servi ng Pa r k Gi ty wi th f i n e carpeting and fine service Individual. reiidtnCes and builderdeveloper services. ' 1370 South 2100 East ( " ;: Salt Lake City,Utah 84108, (801581-0578. ft rp.t factor., by (grm.trooo I ? - S- ft "Jl Restaurant r I J 9iime Slib &L Steaks, I j Fusd Seafood Slightly I Oystel 25a HI 20 MsGQwmZ I on alt menu items I i fr tne month of May. HieJnesiLy - Sunihy hl 5:00 p.m. t tmt bottles ami select wtnes avai :. u-f Available fol plivate palties jf an J banquets. ' I JnJetcjiounJ pat L'ing at the LPaxk City lResot Plaza 649-7778 |