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 Wednesday! 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