POLKAPALOOZA
. . . - otou orunn/un
The Grammy-nominated polka band Brave Combo put on a live stage show Wednesday
evening at Homer’s, 1339 O St. The band concluded a two-day stay in Lincoln with a show
at the Zoo Bar last night.
Wustman
Continued from Page 12
birth, at the University of Illinois.
Wustman faces a daunting task be
cause more than 300 of Schubert’s
songs are rarely performed, Shomos
said.
“There are three volumes of
Schubert,” he said. “People mostly
hear from volume one songs, so there’s
a multitude of songs never done.
“What’s wonderful about this pro
gram is that it gives the audience a
chance to hear live what otherwise can
only be found on recordings.
“It’s also great for'the performers
to perform songs not done otherwise.”
The majority of Wustman’s perfor
mances have been at colleges and uni
versities in the Midwest, Shomos said.
Wustman also has performed in Ne
vada, Florida and in the New England
area.
Shomos said Friday’s concert
would be Wustman’s second Nebraska
appearance for the project. His first
was in 1994.
The performers are from a class that
Wustman teaches on interpreting
* ScTiubcrt, Shomos said.
Formal education aside, Wustman’s
' education also has come from his stints
as accompanist for world-class per
formers such as Nicolai Gedda,
Luciano Pavarotti, Birgit Nilsson and
Elizabeth Swarzkopf, Shomos said.
By accompanying Swarzkopf,
Wustman gained invaluable interpre
tation techniques.
“She’s arguably one of the greatest
interpretersof German art songs in this
century,” Shomos said.
“He’s an accompanist by trade. So
much of his life revolves around the
German composers of the 19th century
and the German art songs,” Shomos
said. “He did all of Hugo Wolf’s songs
at the University of Illinois.”
Shomos said he respected
Wustman’s abilities.
“One thing that makes him such an
incredible player is his ability to make
the piano sing,” he said. “Wien he is
playing for someone, it’s not so much
him and the singer, it’s like two sing
ers.”
Shomos said that the audience
would gain much from Wustman’s
performance.
“If they will read programs with the
translations, assuming they don’t know
German, they will experience some
thing on a couple of levels,” Shomos
said.
“First, they can experience the ge
nius of Franz Schubert and how he is
able to capture the meaning of poem
through his incredible gift of melody.
“TTie other level is for the audience
to experience live interpretation in this
musical setting under the guidance of
someone who is perhaps the most bril
liant accompanist and interpreter of
Schubert’s songs alive today.”
Friday’s concert will start at 8 p.m.
Admission is free.
Music Reviews
Group Home
“Livin’ Proof”
Payday/FFRR
Grade: A
Group Home is the latest install
ment in the Gang Starr family of
hip-hoppers. DJ Premier and Guru
have consistently had a hand in
work from quality rappers, and
“Livin’ Proof’ is no exception.
L’il Dap first appeared on Gang
Starr’s “I’m the Man” with Jeru, an
other brilliant Primo creation. Now
in conjunction with the other half
of his duo, Malachi the Nutcracker,
Dap brings the real.
You might think with no gim
micks or funny voices, they could
go unnoticed in the downpour of
rappers coming out of New York.
OK, you would never say that
about something produced by Pre
mier, but what is it that makes
Group Home’s style so appealing?
The answer is honesty. These
two don’t pretend to be anything
they are not.
It you doubt it, listen to “Sus
pended in Time” or the title track.
Dap and Mai could be the guys next
door if you didn’t know better.
Group Home’s first introduction
as a separate entity came with
“Supa Star,’’ one of last year’s best
singles. The rest of the album is just
as good. Any track could potentially
be a single.
“Serious Rap Shit” pops in with
classic Premier bounce and a guest
shot from Guru, who still rips it as
well as ever.
Never giving listeners any fluff.
Group Home has 11 tight songs, no
doubt.
It is Group Home that has
pushed New York hip-hop to raise
the stakes of the game.
— Greg Schick
Ritual Device
“Rabe 7-inch”
Ism Recordings/Cauficld Records
Grade: B+
When Ritual Device called it
quits last summer, many local mu
sic fans were disappointed and felt
that the Omaha/Lincoln music
scene had lost something unique.
Well-known for lead singer Tim
Moss’ stage antics — which in
cluded pelting concertgoers with
raw pigs’ ears and hoofs at the
Lollapalooza ’92 show in Des
Moines, Iowa — the band always
drew attention to itself. And it
helped many of the current local
bands get off the ground.
The “RabeT^inch” was sched
uled to be released as “Porkfist” in
early 1993, and was to feature cover
art by famed poster artist Frank
Kozik. But Kozik never followed
through and, after the band’s de
mise, the former members made a
cover for themselves. Appropri
ately, they named the record after
the person who supplied the grisly
cartilage cover art.
“Porkfist,” which was recorded
by David Wm. Simms of the Jesus
Lizard at Steve Albini’s Chicago
studio, represents Ritual Device at
its best. This song is two minutes
long and features Mike Saklar on
slide guitar. Moss’ vocals are amaz
ingly more evil than usual. And, as
always, drummer Eric Ebers pro
vides the perfect backbone.
“The Young at Heart,” a Frank
Sinatra cover, is the B-side and
sounds nothing like the original.
Ritual Device succeeds in destroy
ing this song about the pleasantries
of life and turning it into its own.
The minor key playing of Saklar,
along with the distorted bass play
ing of Jerry Hug, build and release
tension throughout this song. This
thrill ride is deserving of more than
a typical B-side billing.
This record features two “clas
sic” Ritual Device songs and is an
essential for any local music fan.
All things considered, it’s a nice
ending for a band that should have
enjoyed a great deal of success.
— Brooks Hitt
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