page 12
Wednesday, january 18, 1978
daily nebraskan
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Roxy Theater to show classics
Photo courtesy of Athena Artists
Country-rock singer Jerry Jeff Walker will perform at
the Omaha Civic Auditorium Music Hall Friday, Jan.
20. Walker, of Luckenbach, Texas, fame, will share the
bill with singer Katie Moffet. Tickets can be purchased
at the auditorium and at all Brandeis stores. Ticket
prices are $7.50, $6.50 and $5.50.
The Roxy Theater, 242 N. 12th St., is open after a
change in management.
Doug Kinney, a UNL student and part owner-manager
of The Roxy Theater, said only "entertaining films,"
including many classic movies, will be shown.
Kinney said the new management would like to avoid
showing X rated and 'hard R' movies, if Uncolnites will
support the theater without them.
The Roxy is the first business venture for Doug Kin
ney, Rodney Rosenbohm and Bob Johnson. They each
have had management positions with other theaters in
town.
Kinney, a business major, said their theater, with a
seating capacity of 132, has advantages over large theaters.
"We figure we're the nicest," Kinney said. "We don't
use the cattle prodding techniques, rushing people in and
out," he said.
Kinney reasons The Roxy, located in The Glass Mena
gerie, is convenient for UNL students, "heated hallway
and all", he said.
He said there will be an American film classic series
including the movies Casablanca, Singing in the Rain,
and Grapes of Wrath.
Thursday, Jan. 19, The Roxy is having a $1 movie
night. The Roxy also has Friday and Saturday midnight
movies. Monday through Thursday, movies cost $2,
and Friday through Sundays, the price is $2.25.
Auditions set for two one-act plays
All potential actors and actresses are invited to audi
tion for two one-act plays to be directed by UNL theatre
department students.
The cast for An American Sunset by James Prideaux
requires two females and one male. Try-outs will be 4
to 6 p.m. today through Friday and 7 to 9 p.m. Thurs
day and Friday. All auditions for the Prideaux play will
be in room 204 Temple Building.
Eight females and two males are needed for Chamber
Music by Arthur Kopit. Auditions for this show will be
in the Arena Theatre on third floor of Temple Building
from 3 to 5 p.m. today, 7 to 10 p.m. Thursday and 3 to
6 p.m. Friday.
Performers may prepare a speech for the tryouts, or
they may read the script "cold."
Music student performances today
The UNL School of Music opens its season of student
recitals today with performances by two musicians.
Dean W. Haist, a graduate student of trumpet, will
play "Concerto en Re" by Guiseppe Tartini, "Concerto"
by Alexander Arvtunian and "Music for a Farce" by Paul
Bowles. Haist will play the first piece on a piccolo trumpet
and the last work will be performed with the film, The
Fireman, with Charlie Chaplin. Haist's concert will be
at 3:30 pjn. in the Sheldon Art Gallery auditorium. He
will be assisted by Mary Steffen on piano, Rich Jones on
percussion and Ann Gillan on clarinet.
The second student recital will be clarinet music play
ed by senior Debbie Harris. Her recital will be in the
Choral Room of Westbrook Music Building at 3:30 p.m.
The program for her concert was not available at press
time.
Bassist Carter's album captures club atmosphere
By JeffTaebel
-w . Ron Carter has had a color
ful career. During the mid-60s, he played
with the Miles Davis Quintet and released
many solo projects. Last year he collab
orated on the successful V.S.O.P. album
with Herbie Hancock, Wayne Shorter,
Tony Williams and , Freddie Hubbard.
Carter's new album, a two-record set
entitled Piccolo, should once again indicate
why many consider him to be the best
acoustic bass player around.
The album is named for Carter's fea
tures on the piccolo bass, a smaller and
better solo instrument than a regular up
right bass.
album.
fVIW
Carter is excellently supported by his
band, which includes Kenny Barron on
piano, Buster Williams on bass and Ben
Riley pn drums.
The entire set was- recorded live at
Sweet Basil, a jazz club in New York City.
As Kenny Barron states in the liner notes,
the live recording was an attempt to pre
serve the spontaneity often lost in the stu
dio, especially with jazz. The idea works
effectively because most of the usual draw
backs encountered in live recordings are
avoided.
The audience is well-mannered and re
ceptive, while the sound quality is, for the
most part, excellent. The spontaneity of
the music is captured along with audience
reactions, transporting the listener into an
authentic club atmosphere.
The musical content of the album may
surprise some. Carter's bass is the lead in
strument, and he plays it with more
articulation and imagination than one
would dream possible. Carter Las an
amazing variety ot tones and attacks
at his disposal, playing with or without a
bow. This allows him to create a vast array
of sounds, proving that the bass can be a
colorful solo instrument in the hands of a
master.
A fascinating aspect of the album is that
the two basses do not conflict. Buster
Williams is a fine musician who does not
appear intimidated by Carter. His bass lines
are inventive but still provide a solid back
drop for the band's overall sound. His
occasional solos are excellent, but perhaps
the most exciting moments of the album
are when the two basses are jamming to
gether or trading licks, as on "Blue Monk,"
which closes the second side.
This Theolonious Monk composition
rolls along in a joyful fashion, with Carter
and Williams each taking lengthy solos and
playing some nice harmony lines together.
Another album highlight is Carter's own
"Saguaro." This eighteen -minute niece
covers the entire first side and contains
enough rich musical ideas to keep it inter
esting throughout.
The song has a variety of mood and
tempo changes, always returning to the
hauntingly beautiful main theme. Each
musician has a chance to flash a little on
this number, but Kenny Barron stands out
on the up-tempo song portions.
The album also contains a version of
"Little Waltz," another Carter original
which was included on the V.S.O.P. set.
This rendition is different than that of
V.S.O.P, because it is played at a faster
tempo and' features Carter's bass as lead
instrument.
While the three aforementioned songs
are the strongest moments on the album,
all other songs are well performed and con
tain excellent solos by Carter and band
members.
Piccolo should appeal to people on
many levels and would be worth the Invest
ment for jazz enthusiasts or anyone inter
ested in acoustic bass, a field in which Ron
Carter is Number One.
- v.
Phoio courtesy of Milestone Rtcordf