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Show ARTS&ENTERTAINMENT Page 4 PHOTO COURTESY JINGA BOA The members of Jinga Boa chill out in the forest. The samba group plays pagode music with Brazilian instruments and Portuguese lyrics. Good groove Dance to the Brazilian music of Jinga Boa this Saturday Cressa Perloff The Daily Utah Chronicle If you think the best kind of party has music and the best kind of music is live, then you'll probably want to swing by the Black Box Theatre at the Rose Wagner Performing Arts Center Saturday night to see Jinga Boa. The samba group's name literally means "good groove" in Portuguese, and Jinga Boa traces its members' roots to eclectic locations. Its singer, George Brown, is from Brazil; Pierre Dufresne is from Canada; Ai Fujii is from Tokyo and Lorin Hansen, Mason Aeschbacher and Aaron Nelson are from Salt Lake City. Aeschbacher also teaches the U's samba dance and drum class on Saturdays with help from other members. Despite these scattered origins, Jinga Boa traces all its musical roots to Brazil. Samba, which is an umbrella term for music in Brazil the way "rock" is in the United States, originated as very N A 30 63 V\DBO JPOD THE UTAH CHRONICLE FOR:/" GO TO WWW.DA\LYUTAHCHRON\CLE.COM TO ENTER /OUR N/WtE IN A DRAWING FOR A 30 6B VWBO \POD ANO OTHER / - -.-. RAB : PRIZE5! , , ; x GBT BREAKING NEWS MD UTAH SPORTS SCORES. PARTICIPATE IN CONTBSTS & PRCWQTION5 FROM THE CHRONICLE AND WIN COOL STUFF, INSTANT NOTIFICATIONS ON # JOB OPENINGS IN THE AREA. ^fclff W-- GET SPECIAL VBALS FRO/V1 BUSINESSES IN ; - ; ; : f SALT LAKE CITY AND THE SURROUNDING APSA f]/\A TEXT /MESSAGE SENT TO YOUR WIRELESS VBM\CB. OTBXT 15 A ffiBB S&WCB PROVIDED 6 / THE OAIY UTAH CHRONICLE. THIS 15 A 5P/VM'FRE£FROi5R/W AND /OUR PER5ON/U. INFORMATION WILL 8 E . I O T P F W t E AND WILL NOT BE 5OLD. PL£A5£CHECK YOuK CELL PHONE f FORM ADDITIONAL CHARGES FOR TE)CT MESSAGES. YOU MA/, CHANGE i/OUR /MESSAGE PREFERENCES; OR UN5LJBSCRIBE AN/TI/V1E. $} Valid una 06/30/06. First 300 to sign up will bo automatically entered to win. Umft one \* gentry per person,-16 winners wiU be chosen. 1:1st place winner, 5:2ndplacfi winners. 10: 3rd place winners'. Winners will be noUfied via IAXI message. This promotion is not open Lo Chronicle employees or its affiliates rhythmic folkloric music in the 1970s in the backyards of Brazilian slums. Unlike the culture of most western music, there were no "stars"—rather, communities knew and loved common songs. Samba meant to be played at a carnival but with smaller instruments for inside is called pagode (pronounced "pa-GO-jee"), which is the kind of samba Jinga Boa plays. The actual word "pagode" can be used not only to reference the music, but also to reference the entire event—as in, "we're going to have a pagode!" "The essence of pagode is to play it and have people dance," said Nelson. It's all about "facilitating a great time," Hansen added. The instruments played in pagode are all from Brazil. The recognizable ones include guitar, triangle and various bells. The cavacinho, a little guitar similar to a ukulele, is the central instrument in pagode music. Members of the band also play low, bass drums called tantans, the tambourine-like pandeiro and the recoreco, reminiscent of a washboard. Jinga Boa also uses the cuita, which sounds like a squealing straw in a cup, as well as vocals in Portuguese. Aeschbacher noted that the music and instruments are so captivating that "once you start, you can't stop, and you have to sell all your furniture to buy more drums." The group started through the California Brazil Camp, where it first heard pagode. Jon Scoville, the music teacher for the U's modern dance department, started up the group Samba Gringa, which now plays at Real Salt Lake games. It was through this group that Jinga Boa established itself—now the band is almost three years old. The concert this Saturday at 7:30 p.m. is actually a CD-release party for the group. Completely self-recorded, Jinga Boa's CD is called "Ta" Na Ginga" (pronounced like "jinga"—in Portuguese, the two spellings are interchangeable), which means "in the feel" In Portuguese. Tickets are $12 in advance or $15 the day of the show through ArtTix at 355-ARTS or www.arttix. org. To listen to a preview, visit www.myspace.com/jingaboa. c.perloff@chronicle.utah.edu Tuesday, September 12,2006 Yo La Tengo In the 22 years the Mm Not Afraid ofYou and I Wilt band's been around, Yo La Beat Tour Ass Tengo has put Matador Records out a plethora Four-and-a-half of critically out of five stars acclaimed al•••* bums. The newest from the New Jersey-based trio is its 12th, and it's on par with all the others. Consistency, though, is a funny word—especially for a group like Yo La Tengo, which has managed _ to be consistent only in its renasal to be pigeonholed into a single genre. Mixing pop sensibilities and melodies with feedback-driven noise could prove disastrous, but for Yo La Tengo, it's a signature sound. Even Bugs Bunny and Kermit D. Frog can't keep up with all the genre hopping. Pizzazz!! Few bands successfully pull off epic-length opening songs ("Quay Cur," from Fiery Furnace's Blueberry Boat disc, is the only recent notable exception), but this 10minute-plus dissonant opener— dubbed "Pass the Hatchet, I Think I'm Goodkind"—hits the spot. The cut is followed by a masterpiece of quiet, wispy folk sung by Georgia (the band's female drummer) and "Mr. Tough," a cheerful pop song that the Apples in Stereo would be proud of, complete with Snoopy-style piano accompaniment and horns. You'll hear blues undertones in "Sometimes I Don't Get You," right after "The Room Got Heavy's" funkified drums and droning buzz. But the irony and perfection of the album is best demonstrated by its title—I Am Not Afraid of You and I Will Beat Your Ass. It is the most out of place—and therefore perfect—title for a Yo La Tengo record. To witness the beginning of a social revolution, check out the Web site at: www.iamnotafraidofyouandiwillbeatyourass.com ...or WE WILL beat your ass! KUTE Mute Math, meet mute button •9 HJ UIEMATi It's always convenient when the band you're listening to provides self-criticism in its songs—especially when it's blatant and fitting. After a brief atmospheric-rock intro, Mute Math quickly sets the record straight on its new release by repeatedly confessing (read: shouting), "I'm the typical. I'm just the typi-C-A-L!" Awesome? In this spacey, popcorn anthem (called—gaspl—"Typical"), these four guys—who look more like hair stylists than musicians—end with an honest and integral question regarding, not only this self-titled album, Mute Math, but their future as musicians/stylists/racketeers: "Can I break the spell of the typical?" With sounds that border too closely to The Helio Sequence, U2 and—yes, I hate to say it—Nickelback, Mute Math has a lot of ground to cover in order to obtain the unusual. The album cover hosts more than 20 differMute Math ent instruments Mute Math (mystery, dualTeleprompt dial synth inRecords EM cluded?), which Three out of might have five stars helped "break (one for the the spell;" howheads-up) ever, it sounds as though only eight made it to the recording studio. The other dozen or so must be for show-and-tell. There are several other one-liners that can be pulled from these songs ' worth the time, then pay heed. that appropriately peg this album, Just think: If self-diagnosis were to but the best is when lead singer Paul catch on and everyone were to state Meany howls in his histrionic, wall- his or her disposition and agenda at papery vocals: "Life is short...we can the get-go, we could all save loads of do without it." energy and time. I know I'll be savWith all the mediocrity in music, ing an hour of my life every time I it's important to listen to Mute Math DON'T listen to Mute Math. Thanks on this one—that is, listen to its wis- again, guys. You've been an invaludom, not its music. If a band is hon- able asset. Good luck breaking that est enough to tell you—or if you can spell. interpret it this way—that it's not Spencer Young THE CHRONICLE'S WORD OF THE DAY saturnalia [sat-er-ney-lee-u/?] (noun) an orgy; licentious merrymaking, unrestrained revelry or any period or occasion of either, named after the ancient Roman weeklong festival of Saturn, Saturnalia, during which disorder ruled and there was no business, school, war, law or punishment. |
