Electronic sound has versatility
Tom Grant
“Just the Right Moment"
Pausa 1985
Review by Darryl Joannides
Having enter
tained bar
goers and jazz
lovers in
Portland for
J/' several years,
Tom Grant
has gained a credible reputa
tion for performing quality
jazz. However, his ability to
transfer his stage performance
to the recording studio has yet
to occur.
Grant recently released his
third album entitled “Just The
Right Moment.” which joins
the pianist’s collection of fine
jazz arrangements — ones that
still haven't managed to
receive nation-wide airplay.
“Moment” contains several
songs in which Grant crosses
that fine line between
rhythm & blues and jazz. With
the sounds of Jean-Luc Ponty
and Jeff Lorber echoing in the
background, the songs “Happy
Feet" and "The Wild Surf”
explore the capacity of elec
tronic sound with an array of
synthesizer sequences.
Grant takes it one step fur
ther though, by combining
acoustic guitar and piano in
terludes that reflect his often
whimsical style. “By George,"
or more appropriately “By
Jeff" (Lorber. that isj, is
Grant’s weakest excuse for a
new composition. Aside from a
few guitar interludes, the song
lacks originality and detracts
from the quality of the album.
In an effort to gain much
needed airplay. Grant con
tinues his attempt at writing
lyrics. As on his last album,
“Heart of the City," he coor
dinates his jazzy, up-tempo
music with mellow, sentimen
tal lyrics that lead to a discor
dant sound. Although his at
tempts proved futile in the
past, the final song on “Mo
ment” combines the varied
sounds effectively.
In this cut, "Never Say
Never," Grant uses a catchy
chorus, repeats it, and adds
improvisational background
music. The song brings to
mind some of Michael Frank’s
better work and might receive
the attention Grant needs at
this stage in his career. But
who can be sure? Grant's song
"Eye of the Hurricane,” from
his "Heart” album, received
some airplay in Southern
California, but soon disap
peared , never to be heard
again.
While the majority of the
album is repititious of Grant's
earlier work, it has a steady
flow that allows for simple
listening, time and time again.
You may not be hearing much
of "Just the Right Moment” on
local radio stations, but if
you’re a die-hard Grant fan,
it's an album worth
purchasing.
"White Winds"
Andreas Vollenweider
CBS 1984
Review by Mike Duncan
With the help of Pedro
Haldemann on
rhythmanatomic
acousticolours, Andreas
Vollenweider has brought the
electracoustic, modified pedal
harp to an extraordinary
musical experience that is best
heard and not described.
A predictable and welcome
progression, "White Winds”
goes one step beyond his last
recording effort by combining
more environmental
background tracks, heavy or
chestration with complex mix
ing and plotting the songs ac
cording to a musical journey.
The adventure takes the
listener through interactions
with the "white winds." "hall
of stairs." "play of the five
balls" and "phases of the three
moons” to name a few cuts.
When Vollenweider's harp is
not present the sounds are
reminiscent of the music of
Steve Tibbetts, complex
rhythmic percussions constant
ly evolving into different
melodies. Vollenweider
weaves his harp like waves in
to the sound track with the
flowing, melodic sounds that
have made his music world
renowned.
Andreas Vollenweider will
bring his electronic harp to the
Hult Center's Silva Hall on
Saturday at 7 p.m. Tickets are
$15.50, $12.50 and $9.50 and
can be purchased at the box
office.
The Staff
The Friday Edition
Editor
Kim Carteor,
Assistant
Mfce Duncan
Art Director
Hank Trotter
Copy Editor
Lauri Neely
Pasteup
5u5an Hawkins
Photo Technician
Hank Trotter
longer CooKie
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