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The University of Oregon
School of Music presents
Festival the
Millennium
November 4-22
Robert Kyr, director
George Crumb, composer-in-residence
THIS WEEK’S CONCERTS:
Thu. NEW YORK PHILOMUSICA
11/11 with Robert Levin, piano
UO Chamber Music Series 8 p.m., Beall Hall
Reserved seats $8, $18, $22, available at EMU (346-4363)
or Hult Center (682-5000); student tix $9, $5 at the door.
Free lecture by Levin at Noon in Beall Hall.
Fri. OREGON COMPOSERS FORUM
11/12 New music by graduate composers. 8 p.m., Beall Hall
FREE Admission. Pre-concert panel, “Investing in the Arts
Community,” at 7 pm.
Sat. MBIRA MASTERS OF ZIMBABWE
11/13 UO World Music Series 8 p.m., Beall Hall
(ticket includes pre-concert lecture-demo at 7 p.m.)
$10 General Admission, $8 students & senior citizens
Sun. CALIFORNIA E.A.R. UNIT
11/14 Guest Ensemble 8 p.m., Beall Hail
$7 General Admission, $4 students & senior citizens
Pre-concert talk, “The West Coast Renaissance,” at 7 pm.
Tue. QUATTRO MANI: Duo Pianists
11/16 Guest Ensemble 8 p.m., Beall Hall
$7 General Admission, $4 students & senior citizens
Pre-concert talk with George and David Crumb at 7 pm.
Wed. OREGON WIND ENSEMBLE
11/17 UO Ensemble 8 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
Thu. UNIVERSITY GOSPEL ENSEMBLE
11/18 UO Ensemble 8 p.m., Beall Hall
$5 General Admission, $3 students & senior citizens
For complete events brochure, call
346-5678
CD Reviews
Sounds of past, sounding good
Music
R-E-S-P-E-C-T
Various artists (Rhino Records)
Does it make sense to produce
a five-disc collection, celebrating
a century of women in music, and
leave out two.of the most influen
tial female pop-music artists of all
time?
While "R-E-S-P-E-C-T: A Cen
tury of Women in Music,” pro
duced by Rhino Music, is the first
comprehensive overview of
women in recorded music, it
slightly misses the mark.
Most conspicuously, Madonna
isn’t included on the Hip-Hop,
Pop, and Passion compilation.
And come on, Yoko Ono should
have been axed from The Rock to
Electric Shock disc, making room
for Cher. Even Cyndi Lauper
made the cut, but Bette Midler
didn’t.
Is Rhino Music really out to cel
ebrate the most influential
women in the music industry, or
just make a buck?
The company’s effort toward
including 114 songs from nearly
every genre of music, including
Broadway, big band, blues, disco,
R&B, pop, rock, and hip-hop,
spanning the years of 1909-1998,
should be applauded. Dialogue
from important women like Mar
garet Mead and Amelia Earhart is
even included, though these
soundbites make the collection
seem a little corny.
What remains the biggest mys
tery, however, is why “Bold Soul
Sister,” a song tha£ features the
one and only Ike Turner, was cho
sen to represent Tina Turner’s
work. A man who beat his wife
doesn’t seem like the best artist to
include on a CD that demands re
spect for women — unless its
meant to be a slap in his face.
By Sara Jarrett
100% Human
Pocket Size (Atlantic Records)
Pop, glam rock, or 70s cheese?
Which sound best describes
Pocket Size’s debut release
“100% Human?” It’s hard to say.
The CD begins with the first of
many poppy tunes, “Human
Touch.” Lead singer Liz Overs
starts out by repeating the word
“human” before breaking into
song, an intro style she tends to
use throughout the CD.
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courtesy of Atlantic
Pocket Size doesn’t come up big with its new CD “100% Human.
“Human Touch”
is followed by the
Sheryl Crow
sounding “Shaking
The Tree.” The
sound and lyrics
resemble those of
Crow’s song “A
Change Would Do
You Good.”
“Squashy
Lemon'* Squeezy”
has a promising be
ginning with an
edgy modern
sound and elec
tronica, but unsur
prisingly enough, it
quickly goes pop.
“Know Nothing”
sparks a Captain
and Tennille flash
back.
Included on
“100% Human”
are a handful of
Beatle-esque songs,
especially “Stay
Till the End.”
It’s usually fun to
distinguish which musicians
have influenced new artists, but
we also like to know what the
sound of the current band actual
ly is, not just how well they can
imitate others.
Then again, if you like pop and
couldn’t get enough of Belinda
Carlisle in the ’80s, Pocket Size’s
“100% Human” is now available.
By YaelMenahem
Slide Man ★★★★☆
Henry Cooper (Burnside Records)
Throw a harp fifty feet in any
direction and you’ll probably hit
a blues musician.
If you happen to whack Henry
Cooper, then your aim is lucky,
because he’d know what to do the
instrument.
Cooper also knows what to do
with a slide and how to make his
guitar respond with a rocking
sound. The Portland resident has
released his second solo CD
“Slide Man,” which reels in lis
teners with his expertise with
both harp and slide.
Cooper — like any blues musi
cian who understands the genre
— pays tribute to the masters,
such as Robert Johnson and El
more James, but Cooper isn’t
afraid to wander away and find
his own niche.
His “Wicked Wacky Blues” is
blistering at times, but that slide
playing also finds its way back to
a more muted, less throat-throt
tling sound. Cooper’s harp play
ing really shines on songs like
“No Fears” and “I Wonder Baby.”
The blues aren’t always sad and
maudlin with Cooper, either. Like
a gunslinger, a good blues musi
cian is always looking over his or
her shoulder, waiting for the
young pup to challenge the mas
ter. Cooper addresses this eventu
al confrontation with an amusing
take, called “Guitar Baby.”
“He’s still wearin’ diapers / and
he don’t even have no hair. / But
he’s got himself a record deal /
Now tell me honey, is that fair?”
wails Cooper, tongue mostly in
cheek. Not to worry, however.
With a recording like this, Cooper
won’t be shot down anytime soon.
By Jack Clifford
courtesy of Burnside Records
Henry Cooper plays the blues with a lot of gusto.