The print. (Oregon City, Oregon) 1977-1989, February 04, 1981, Page 6, Image 6

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    arts & lives)
“Foolish Behavior
By Tom Jeffries
Of The Print
Either you love him or you
hate him, and either way you
think he’s strange. There’s no
middle ground for Rod
Stewart. He’s a living,
breathing extreme. Rather than
try to overcome this, he
order for songs like “Better Off
Dead” and “Kill My Wife,”
which appear on his new
album. Still, he manages to rise
above the natural limitations of
his voice and give a soft quality
to “I* Wish I Was Home” and
“Say It Ain’t True.” It’s these
numbers that help round off
the album and demonstrate
breathing extreme
capitalizes on it. His latest
album, “Foolish Behavior,” has
only been exceeded in its'con-
tent of good rock by “Footloose •
and Fancy Free.”
Mention Rod Stewart
anywhere and you get a mixed
reaction. Seventy-five percent
will think he stinks, the other
25 will think he’s terrific. Yet,’
with the songs of his that are
played on, it’s no
wonder many people don’t like
him. Songs like “Passion” and
‘*Do Ya Think I’m Sexy?” may
be perfect for the bubble-
gum/disco radio gristmill, but
they do not represent his better
What’s .mote;; his rough,
gravelly voice is totally unsuited
for “Passion,” but made to
that his music is not just for the
bubble-gum crowd.
Unfortunately, his lyrics are
many times what keep his bet­
ter numbers off the airwaves.
An otherwise unobjectional
piece k may contain a single
verse that, though it fits well in
the song, will .guarantee. that
tne Only .radio station to play'jt
wduid be KGON, which
generally ignores His music on
general principles.
If one can get past teeny-
bopper songs like “Passion,” it
would be enlightening to listen
to “Foolish Behavior.” It may
not have, any deep symbolic
social qpqnp^ntary, jjb$jjt’^rat
fair example of good rougn-
and tumble rock.
r Campus
Paperback bestsellers
1. The Official Preppy Handbook, edited by Lisa Bim­
bach (Workman, $3.95.) Making the grade: humor.
2. The Next Whole Earth Catalog, edited by Stewart
Brand; (Point/Random House, $12.50.) Ideas for the 80s.
3. Godel, Escher, Bach, by Douglas R. Hofstadter.
(Vintage. $8.95.) Computer scientist’s theory Of reality.
4. Still Life with Woodpecker, by Tom Robbins. (Bantam,
$6.95.) A sort of love story: fiction.-
5. A Field Guide to. Birds East of the Rockies, by Roger
Tory Peterson. (Houghton Mifflin, $9.95.) Revised classic.
S. Garfield at Large, by/jJim Davis. (Ballantine, $4.95.) Wit
and wisdom of carhit strip c§t.
7. Jailbird, by Kurt Vonnegut. (Dell, $2 95.) One man’s life
from Harvard through Watergate: fiction.
8. Smiley’s People, by John le Carré. (Bantam, $3.50.)
British masterspy versus Russian counterpart: fiction.
9. The Dead Zone, by Stephen King. (NAL/Signet, $3.50.)
Terror tale of a man who sees into the future: fiction.
10. Executioner’s Song, by Norman Mailer.- (Warner, $2.95.)
A true-life novel about Gary Gilmore.
Compiled by The Chronicle of Higher Education from information
supplied by college stores throughout the country. February 2, 1981.
-_____________Z__________ ;______ Z
New & Recommended
MacDoodle Street, by Mark Alan Stamaty. (Congdon &
Lattes, $6.95.) Cartoon strip about a bohemian poet. v
Problems and Other Stories, by John Updike. (Fawcett/
Crest, $2.95.) Twenty-three stories about middle-age.
The Brethren, by Bob Woodward and Scott Armstrong.
Page 6
Staff photo by Ramona Isackson
Gilgam stretches out with a smile.
Gilgam jazzes piano lab
Few people probably know the workings of
the Portland jazz scene better than Harry
Gilgam. Gilgarn t^apb^. three music classy-,at
5C£C, as; Wgll ,a& giving.private piano lessons to
CCC students, and has played in various jazz
clubs in Portland for about 20 years.
Portland born and raised, Gilgam took up the
piano at the age of 10, and began playing
nightclubs with various duos and trios as soon as
he graduated from high school. He played main­
ly by ear in those early years, he .says, but soon
realized the value of being able to read music. At
the same time, he took lessons from Gene Con-
fer, a highly regarded Portland piano teacher,
who impressed on him the value of classical
training. For development of style and techni-
que, Gilgam still feels classical training is unmat-
ched for a musician of any genre.
After 10 years of playing nightclubs, Gilgam
joined the house band at Amato’s Supper
Club-“It’s a parking lot now,” says-Harry wryly-
for.two and a half years, playing for people like
Rowan and Martin and Shiecky Green. After
Amato’s, Gilgam did the same thing for the
Frontier Room.
To those not familiar with the idiom, being a
house musician in a show club demands an
.above-average level of musicianship. You have
/to be a quick learner, since you have at the most
two rehearsals with the incoming performer, and
you have to be able to read any piece of music at
-the first sitting.
At about this time, Gilgam began taking
private students on a part-time basis, meanwhile
playing the state fair, where he backed up peo-
pie as diverse as the Mills Brothers, and juggli
, ,Jn 1.9^6 .Gilgam was asked io join KATU-
in Portland where he worked again as a ho
musician, playing both live and on tape
whatever was needed. A couple of years lat
he joined the staff of KOIN where he pla
Hammond organ and vibes along with pia
and also did live radio shows.
Gilgam began working at the College in 197
He came at the behest of LeRoy Anderson, p
sent chairman of the music department. And
son and Gilgam had played together previo
in a house band at the Roaring 20’s Room, at|
old Hoyt Hotel. Anderson wound up being
leader of this band, while Gilgam held down
keyboard work,
He keeps a tight schedule. Besides the time
spends at the College, he also tea
downtown at his studio, at Mt. Hood Comm
ty College and at Reed College. He still d
casuals around town, but is more apt to be do'
them during the summer. His quartet is a
often featured in various Portland festivals;
has played at Artquake four times.
He says he is pleased with the caliber of
students here, He needs a good attitude,
says, and this he has been getting.
As for advice for would-be professional m
cians, Gilgam stresses reading ability and
satility. Any sort of studio musician has to be a
to sight read anything that’s put in front of h
And he has to be able to play in any style
music, also.
arts briefs
A rather unique concert will
be given in the Fireside Lounge
this Friday at 9 a.m., 11 a.m.
and again at noon. David
Baumgarten will present
“Steinbeck Country,” which is
described as an “approach to
the writings of John Steinbeck
in dramatic and musical form.”
a lecture and concert combin-
ed, Baumgarten will play some
of the folk music of Steinbeck’s
period, and present stories and
character sketches from, the
novels. The first two presenta­
tions will be for two English
classes, although the whole
student body is welcome.
Baumgarten’s show at noon
will be much the same thing,
except for the inclusion
material by Eugene O’Neill
Steven Vincent Benet.
The first Clackamas C
munity College Festival of
forming Arts will be presen
Feb. 18 at noon, Feb. 201
p.m., and again at noon
Feb. 26. Location is the C
munity Center Mall.
Clackamas Community Co