Arts & Entertainment
_I
Courtesy Agency for the Performing Arts
; — — ^ Branford Marsalis
Sax man Marsalis
blows Kimball away
By Jann Nyffeler
Staff Repotter
The Branford Marsalis Quartet
played the wrong hall Sunday
night.
Their eclectic jazz belonged in
a crowded, dimly lit, smoky club,
Concert Review
surely not the Kimball Recital
Hall.
But Kimball Hall it was, and the
audience didn’t seem to mind.
Marsalis mixed old stuff and
new, standard and progressive. He
often took a step back to bask in the
fun of his band. On some tunes he
studied bassist Delbert Felix’s
technique like a friend. Other
times, he watched pianist Bill
Childs tickle out tasty solos.
Whether playing alto or so
prano saxophone, 27-year-old
Marsalis ended every piece
smoothly, without the traditional
stinger that usually ends jazz
charts.
Beginning with “Shade of
Jade” by Joe Henderson, the group
was solidly unified, yet each
member had a chance to shine.
The second number, a Sonny
Rollins chart, began with a Felix
bass solo. The rest of the band
snuck in and turned out one of the
evening’s more inspiring pieces.
“Lament” began with a healthy
but predictable keyboard solo.
Mellow and wintry at the outset,
“Lament” created a sly, sneaky
mood.
But the controlled raucousness
of the next number, “Love Song”
by Tony Williams, showed the
boys at the peak of their heat.
The climax of the show came
with “Broadway Fools,” written
by Marsalis. His fluid soprano sax
runs sounded so electric that they
might have come from a synthe
sizer. But the music was real. His
talent lets him create those effects
naturally. There were no tricks in
this light and happy piece.
Drummer Gene Jackson got a
chance to show his stuff on
“Swingin’ at the Haven,” written
by Marsalis’ father, pianist Ellis
Marsalis. Jackson, whom Marsalis
said was playing his second gig
with the group, delivered a solo
that was solid but lacked the sensi
tivity that comes with experience.
'His talent lets him
create those effects
naturally.'
The evening ended with a
Kenny Kirkland piece that showed
Marsalis at his explosive best on a
frenzied soprano sax solo. Itexem
plified Marsalis’ style at its apex,
with seemingly boundless range
and delicate technique.
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Movie takes scary look to future
By Kim Beavers
Staff Reporter
Arnold Schwarzenegger’s new
movie, “The Running Man,” is a
frightening look into the future.
The film is based on a novel by
Stephen King, but the only relation
between the two is the title and two
main characters’ names. The human
race as portrayed in the year 2019 is
Movie Review
cold and violent.
The movie is entertaining, but an
absurd number of one-liners hurts its
final outcome.
The movie takes place in Los
Angeles with an autocratic society.
The government also runs all of the
TV programming.
Richard Dawson, remembered
best in his role as the host of “Family
Feud,” makes his comeback once
again as a host on a TV show in the
film that depicts the death penalty in a
variety show.
Dawson plays the role that people
love to hate and docs a great job at it.
He is cocky, dishonest and crude, all
displayed with style. The game show
audience consists of ciu/.ens who
make bets on which government
owned bully will kill Sch
warzenegger.
Schwarzenegger, an ex-cop
framed by the government, must be a
contestant on the game show to save
his life. Maria Conchita Alonso plays
Amber Mendez, who assumes the role
of sidekick. She must also be a con
testant on “The Running Man” as
punishment her for trying to uncover
the scheme the government pulled on
her cohort.
Thisaciion-packed movie pulls in
the audience by constant feedback
from the TV show’s audience.
Mick Fleetwood, of Fleetwood
Mac, and MTV host Dweezil Zappa,
son of Frank Zappa, make up the
people’s republic in the movie. The
republic has been created as an under
ground world in hopes of overthrow
ing the government. Fleetwood makes
a satisfactory change from drummer
to actor, but Zappa appears com
pletely ignorant as he mouths his only
two lines in the show.
Schwarzenegger has not always
boon the best actor but he hams up as
an excellent tough guy.
The movie should bring in a diver
sified audience. It appeals to the those
who like to feel like they lived through
something. But don’t go for a relaxing
evening.
‘‘ I he Running Man” will keep you
on the edge of your scat.
Project Import lauds alternative music
By Kevin Cowan
Senior Reporter
Project Import, 719 P St., sells al
temative sounds to the mainstream
f albums, tapes, and compact discs thai
| dominate the Top 40 charts.
Steve Schulz, owner of the new
shop, said he and manager Jon Bakci
were “sick and tired of the average
records available.”
“We wanted to open a shop thai
concentrates on imported records i4
all kinds,” Schulz said. “So many
other record stores offer only the
music that everyone knows about and
ignore the innovative music put out by
the smaller record companies like
SST and Rough Edge.”
Baker has spent the last nine years
buying records for Pickles and Rec
ords & Tapes and Dirt Cheap Records
and Gifts. During that period, he said
he became increasingly disenchanted
with larger record companies and the
way they controlled record distribu
tion.
“It’s like they try and pul you in a
bowl,” he said. “They won’t even
think of giving you backing unless
you’ve got $150,0(H) invested in your
business and you agree to sell their
Whitney Houston or Bon Jovi records.
They tell you what to buy and how
much to buy,” he said.
Baker said the goal of Project
Import is to give people the opportu
nity to make their own music deci
sions.
“If all you ever hear is what they
play on the radio, then you can’t de
cide for yourself what music you re
ally like,” he said.
Schulz said larger record stores
give most of their time and space to
popular bands, while smaller groups
go by the wayside.
“What people don’t realize is that
most of the ‘popular’ groups started
out in record stores like ours,” Schulz
said. Hecitedgroups like R.F.M., U2,
The Cure and the Psychedelic Furs as
groups that started on the underground
circuit.
Project Import, in the Haymarket’s
Burkholder Project, lets customers
look around for music without any
sales pressure and hear groups they
haven’t heard before, Schulz said.
“If someone comes in and wants to
hear a record that we don’t have on
tape, we’ll open the record and play it
for them. If we don’t have a record
they want, we’ll make every effort to
order it for them,” Schulz said.
“We want to be the premier import
record shop in Lincoln,” he said.
“Competition is not the primary
goal.”
“We know we’re going to be scrap
ing for a long time to come,” he said,
“but our goal isn’t really to make
money as much as it is to provide the
best alternative music possible to the
Lincoln alternative music culture.”
Project Import features recordings
by Divine Horseman, Saint Vitus,
Zcitgicst, New Gun Theory, Savage
Republic and the Dead Milkmen.
