The daily Nebraskan. ([Lincoln, Neb.) 1901-current, October 02, 1995, Page 13, Image 13

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    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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