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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Oct. 2, 1995)
Allison plays the blues tonight By Cliff Hicks ————-- ° sis'" --'Co-*-- ~ ■ When legendary blues guitarists come to mind, people may think of B.B. King and John Lee Hooker. But they shouldn’t forget Luther Allison. Allison, who’s been playing blues for more than 26 years, takes the stage at the Zoo Bar tonight. “I wanted to be a baseball player,” Allison admitted. “I grew up with music and kept fighting it off. But the more I fought it off, the more I knew I was going to be a musician.” It was also beneficial that Allison was the friend of blues legend Muddy Waters’ son, who eventu ally introduced him to all the blues greats. After quitting school and giving up the shoemaking trade, he began concentrating on music full-time. He made hi s first recordings in 1967 as a sideman with Sunnyland Slim and Shakey Jake. In 1969, Allison rocked the blues world at the influential Ann Arbor Blues Festival and was invited back to headline the following two festi vals. Then in 1972, he signed to Motown Records, where he re corded three albums as the only blues act on the label. During the early 1980s, after Allison found wide acceptance in Europe, he moved to Paris, and his American influence began to sub side. In 1994, however, Allison re leased “Soul Fixin’ Man,” his first U.S. release in 20 years, and began touring in the States. After a well-received appearance at the Chicago Blues Festival, he released his latest album, “Blue Streak,” which his current tour sup ports. The anticipation for “Blue Streak” was immense, as the “House Of Blues” radio program debuted the album on more than 100 radio stations the weekend before its re Courtesy of Alligatpr Records Legendary blues guitarist Luther Allison brings his music to the Zoo Bar tonight. lease. Allison hopes to reach as many Many people have commented, people as possible, however, that Luther Allison’s «iT_ .... .. . strength is in his live shows. They „ 1 feel llke 11 s my time now and have been described as everything 1 mgonnahavesomefun, hesaid.' from “ferocious” to “slashing.” The show at the Zoo Bar begins Now on his fourth U.S. tour, tonight at 9. ATTENTIONI ^ The Bill Bellamy Comedy Show scheduled Bfor October 17th has been cancelled. We , apologize for any Inconveniencies. Bill will ^ be taping a new sitcom pilot that week and will be unable to be in Lincoln. Individuals who have already purchased tickets can get a refund from the Lied Center j Box Office. UPC is looking for a replacement { entertainer on October 17th. § PLEASE nfiOf TUNED FOR DETAIUI g With Birkenstock Footprint Offer Ends October 3 Lbirken The Original Comfort mrls. A ^pA*With any Footprint Collection I ^FOOTLOOSE & Marsalis, jazz orchestra return to classical artistry » By Jeff Randall Music Critic ~ -- It was like something out of the movies. When Wynton Marsalis and the Lincoln Center Jazz Orchestra took the stage at the Lied Center for Performing Arts Saturday night, ev eryone in attendance was transported back in time. Back to an era in which showmanship, preci sion musical artistry, and good taste prevailed in the world of entertainment. Back to a time when jazz was king. For a large portion of the audience, that time was a memory and, in all likeli Concert h°°d, a fond one. But for the Daviaw younger and less knowledge able others, myself included, that time has been relegated iu images on me American Movie Classics network and, God forbid, the History Channel.. Saturday night, though, even the youngest jazz fan found future memories to talk about. Marsalis and the Lincoln Center Jazz Or chestra served up a blistering two hours of big band jazz that satisfied everyone present. Consisting mostly of works by Duke Ellington, the performance was a tribute in the greatest of forms—short on the sentimentality, long on the actual performance. Marsalis conducted the band and worked the crowd with two seemingly different personas. While engaging in the expected chit-chat between songs, he appeared somewhat nervous and unprepared, but always managed to end up pulling laughter from the crowd. His offhand remarks and the occasional long pause broke the ice immediately. But when he turned back to face the band, all traces of nervousness were dispelled, as he assumed the role with which he obviously felt most comfortable. Picking up his own trumpet to join the band (Mi a couple of other tunes revealed another persona, that of a confident and tremendously gifted individual who was doing what he truly loved. * The rest of the group seemed equally confi dent and secure in its ability. Some members, however, seemed to shine with an even more intense glow. Drummer Herlin Riley sat near the back of the stage, constantly moving and keeping the beat with a loose style that never wavered and never bored. Vocalist Milt Grayson joined the band on a few songs, letting his smooth and low voice slip over the crowd like a silk sheet. His debonair demeanor and slow-motion movements accom panied his vocal style perfectly. Trombonist Wycliffe Gordon played with pure emotion, letting the sliding sounds of his instrument convey nearly every emotion ever felt. He laughed, cried, and jeered without ever uttering a word. Victor Goines took center stage in a series of solos on nearly every song. His ability at work ing both the clarinet and the tenor saxophone was highlighted without visual flair or particu lar featured moments, but merely by letting him play. Other star players included trumpeters Jesse McGuire and Ryan Kisor, pianist Eric Reed, and baritone saxophonist Joe Temperley. The entire band was at its best, though, when the individual players were pulled back into the mix and the music was left to speak for itself. Highlights included a medley of “Death of Jazz,” an original composition, and “Second Line,” a selection from Ellington’s “New Or leans Suite.” Tito Puente’s“Mambo Beat” wasan equally exceptional song that fired both the crowd and the band up, establishing an energy level that was maintained throughout the performance. That energy continued even as the band left, playing as they walked backstage, and contin ued playing from behind the side curtains. Riley remained done in view, almost as though he were keeping the music alive single-handedly. But in the end, no one was needed to keep that music alive. It did just fine on its own. 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