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Show M.AR01 -- - 2001 - RED ..Kf Drviw continued from pug BEAT - R5 R.4 Standards While Casting The New , Tartcb by Jeremy Asay Iaionots'iecfjraichlnthU J I f; is so damned jntjicsite jjcrij r 1 1: decide. r t ' Yru - ITortoJ&e h?--e aways jrd - ' : vj ' - ,3 - . the WV post iocV expedmenlstioA, lam pun tint will no doubt piw J '! - thatit baffles the' w heard of ecr candy. Well this i$ ea? Wsxsi j " world, bur I am now convinced of the folio ririg; If everyone were to put as rsnu ch t! zn into the'i relationships with other human beings a; Tortoise put into the studio, there would ivJr$ Ik vy review ef foe sn " J A s1JaWit!Sl li... v;a:siii w musical iyu-- sr. wi. rw 1 j Swti Wf Finally, vrith iathey crazy pespiciiatmfi Tn jhc-- , i$ feet to Sttplisn waUrwiwridtbc studio nak?d "t and shout random nomsnsi- - Y cal thoughts into makeshift of bght swit4s coata irt cbse spread " r -- I v . ; f. I , dxywl"niici'thTei' 4hi$ cwxtraki4,: Hall. The opening acts were the contestants whose songs were the day before. The talent work-shoppe- self-taug- see O'BRIEN, page Rll wo young University of Utah students boarded an oversized Chevy truck last Friday near the Heritage Commons night housing complex Snow had been falling all day, and the roads were jammed and slushy. They were set out for Ogden, a pilgrimage to see The String Cheese Incident. The trip proved to be dangerous: Snow flakes the size of post-- it notes filled the evening sky. The driver's vision was down to three What should have been an hour's cruise north became a sluggish crawl of two long hours. t A blanket of fresh powder covered the Val A. Browning Theater on the Weber State campus. The two very unhippy-lik- e young men walked carefully across the parking lot, joyous to find the elegant theater warm and spacious. The lobby's polished, modem interior was too upper-crufor a ado-based for its band known jam three-hou- r g concerts and smoke. The boys were just in time. The group had barely begun it's first set. They crossed the dark aisle to find their seats in the upper tier. People of all kinds had already begun the customary gyration marathon, standing in the aisles, on plush cushioned seats, anywhere they could find a space large enough to express themselves through dance. Michael Kang, guitarist, electric mandolinist and violist for the band, stood at the mic. His feet were bare and supported comfortably by a Persian-lik- e rug. Mr. Kang blues-roc- k expressed rhythms and traded solos with the country-baseacoustic riffs of Bill Nerishi, the acoustic guitarist and vocalist Kyle Hoilingsworth soon began an epileptic jazz-sorelationship with the jam at hand. Scuthem-sou- l organ acoustics exploded from the stage, the composer's head deep in the keys. Keith Mosley slapped through funk riffs, making his presence known as the rhythm and bass guitar for the fluid harmonies. The lights scattered twirling suns and cyclones across the crowd and stage. Hues of purple, green, violet, blue and all other entrancing colors mesmerized the audience and set the players in a metaphysical realm, high above the freezing white mayhem falling outside the doors. Michael Travis, a tall man with long, grey hair, began a conga solo. Skin slapping skin on the drums began as a trickling mountain stream in the head of one of the U travelers. It soon became a tonent of raging motion, rushing through canyons and eroding pathways in his brain. The landscape of musical thought began to change; the mountains crumbled, valleys were formed His body rose from the seat and began to move, swing, anything to direct the torrent of liquid percussion falling through his As Travis rushed faster and faster, the motion bore deeper and deeper into the darker regions of his inner thought. It soon rushed over the edge, a waterfall of inspiration. The young man reached back to wipe the sweat from his neck. He felt the hair on his head growing longer and longer. He pulled a strand over his shoulder to find that it had grown to length. In utter shock, the student shot near-wai- st see STRING CHEESE, page Rll i s 1 two-foo- ice-,cak- -- A ' I" " I The fact is, .VjaliHitu? rfjigs abotut iiouung as if he lai treated it en the awtrlh ifov wh2 God Was sttri3. It is as if he" dfim't IcriRW fehstt any ti the Woxes mdSC oiJkow topionotinre? ttlem ' ' ' ' - , Bstrict a fentastce with iimu. ' ' " ' Tet ther ii'an internal iogit: fcehctrt all tnat cannct heinerehf ' debut cpnt&ujw tMs Vpc whil 1 MksRiu$Nnymoif rJUaitHSIlB fUppeaJl that remt ni.-- 4ir hi fik-M- rift trSM jv(i , SaiiiiAf n1 wrfi$ k14 kriffc- - Jostael t& gsapesesr wr 3d! Vtl 2sal naf lasers f We nd 'd 4 st Color- sweet-smellin- d I " -- Hser.?,' ttiS all even rrao $pse. " V v v ' . ' i ul ' r eii d from these individual song writers was amazing. O'Brien's performance was sheer excellence. virHe displayed his he as switched in music tuosity from guitar to mandolin to fiddle, playing each with sublime ease and s. - X care into every note he plays. His interpretation of a standard folk tune makes it shine in a new way while still incorporating the traditional acoustic sound. The following night O'Brien played at the Libby Gardner Concert Night of Transformation by LeGrand Rogers K0tts&Hi andewP'S 'p'g...:n.inr-AiiyQ.iJiTi.iij- , pop-balla- h O'Brien observesnusic with the utmost reverence. He puts much The Power of Cheese jpfi.swii.,ft3i:.iir ir. im O'Brien, on his first visit to Utah since the free concert series at the Gallivan Plaza last summer, made it a memorable one. He didn't come just to play his guitar, but to share, to instruct to learn and, at last, to give us a performance which truly showed his mastery and versatility on the guitar, mandolin and fiddle. O'Brien held a workshop, in cooperation with the Intermountain Acoustic Music Association (IAMA), in which he shared his approaches to the writing and revising of his own music Later in the evening, five singersongwriters, chosen among 17 contestants, joined the workshop to have one of each of their songs workshopped O'Brien showed genuine interest in both the lyricism and musicianship of the contestants. He was able to adapt to an individual contestant's style and help him or her find a way to strengthen the piece. d Each contestant had either a sound. O'Brien, or country-iswho is a guru of both old and new music, had a world of knowledge to share with the lucky contestants concerning their specific genres. O'Brien shared his philosophy of respecting and acknowledging the old and, in that light, creating the new. As O'Brien explained, the old traditions of music led up to the modem traditions of today. To understand the music of today one must understand and respect the music of yesterday, he said. a delicate Japanese flower. He is a careless sailor. Drawn by a she envisions as endless as the sky, Butterfly takes flight from her family to marry the handsome American. She nurtures their child in hope and devotion... until a cannon shot from the harbor plunges her to reality. She is Puccini's most lavish and impassioned score creates the incomparably moving experience of Madama Butterfly. Madama Butterfly by Puccini Call 355-ART- S www.tic kets.com Sung in Italian with English supertitles Tickets start as low as $14 March 10, 12. 14, 16, 2001 at 7:30 p.m March 18at2;00p.m. STUDENT RUSH, TICKETS 12 PRICE! |
