Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (Nov. 25, 1998)
4 TL ie CI ac I< amas P rìnt Wednesday, November 25, 1998 Swingin' around on Jazz Night KARL KATZKE / Clackamas Print Simon Portner's trumpet wails with the rest of the Jazz Ensemble's horn section, confidently blasting out a swinging big-band feel. JOEL P. SHEMPERT Copy Editor KARL KATZKE / Clackamas Print Jazz Combo vocalist Kairi Raud belts out a sweet jazz ballad over Travis Lewis' backing on electric bass. The Waterboy: a big kick in the butt ANGIE DASCHEL Staff Writer In “The Waterboy” Adam Sandler is 1. awesome, 2. sooooooo awesome, 3.soooo $#%&ing awesome, and 4. God. These are some of the remarks made by audience members over heard while watching Sandler’s new est romp into stupid humor. “The Waterboy ” is about a 31-year- old man named Bobby Boucher (Sandler) who has spent his whole life serving “high quality H20” to a col lege football team in southern Loui siana. Bobby gets fired from that job and becomes the waterboy for Coach Klein, a man on the edge of a ner vous breakdown played by Henry Winkler (the Fonz). Kathy Bates (“Misery”) plays Bobby’s mother who feels that everything outside of their bayou home is made by the devil. Bobby has been mocked by ev eryone his whole life for being slow- minded, and Coach Klein’s football players are no exception. After be ing taunted and rejected, Bobby fi nally snaps and tackles one of the players, which prompts Coach Klein to promote Bobby from waterboy to football player. Predictably, Bobby leads the team out of their losing streak and saves the day. The movie’s best performances are given by Fairuza Balk (“The Craft”) as Bobby’s law-breaking girlfriend, Rob Schneider, whose cameo is hi larious, and of course, Sandler. His goofy grin and clipped speech make the movie even funnier. This movie is probably not one of Sandler’s best, but even if it is crap, so what? We love Adam Sandler be cause he has made moronic humor intoanartform. We love him enough to pay seven bucks just to look at the guy. “The Waterboy” combines two of America’s favorite things: football and Adam Sandler. LONG LIVE THE KING!!!!! If your only experience with jazz is in an elevator, Nov. 18th’s Instrumen tal Jazz Night would have changed your tune. The annual event, which showcases the talent ofQackamas’ Jazz students studying under Tom Wakeling, swung high and swung low, highlighting the versatility of these young musicians. There were few negative aspects of the concert, and most of these were technical rather than musical. All those involved were able still able to shine. The Jazz Combo kicked off the evening with three classic tunes, sung with gusto by Estonian exchange stu dent Kairi Raud. Raud’s husky vocal was unfortunately obscured by a too- hot microphone, thus denying the au dience the true beauty of her voice. Rand stood out over a steady, swing ing vibe on the Ellington staple, “It Don’tMean aThing,” aplayful piano solo by William Bryan on the band’s second number, and the sweet bass lines of Travis Lewis complemented by a smooth, warm trombone sound from Christopher Wheeler on the love ballad, “Day By Day.” Thelonius Monk’s “Nutty” started the large Jazz Ensemble's set off right—a toe-tapper beginning with a playful duet between Lisa Pefelski’s bass and Karen Lewis’ piano, followed by the entry of a tight horn section. The steady yet lively drums rounded off this fast and fun tune. It was readily ap parent that these folks definitely know how to play. The third tune from the Ensemble introduced the evening’s guest—Ca nadian musician and composer Brad Turner. Bringing life to the swing ge nius of Charlie Parker, the band put rumbling drums, tight and punchy horns, pleasant piano, and steady bass together to weave a rollicking, danceable tune. Parker’s intricate and varied trum pet solo immediately demonstrated why he is a world-famous musician; then the band was back in without bat ting a lash. Karen Lewis’ piano solo followed, segueing into a swinging sax solo by Matthew Herington, then drums from Mark Weisgram, in a battle of solos that continued in a ris ing frenzy. Turner’s musicianship gelled well with the band throughout the set, with his solos on both piano and trumpet playing off the other instruments beau tifully. The synergy between all the musicians on stage was electric, and all Clackamas’ students had something rich-to contribute to the musical stew. Ihere were logistical difficulties, such as when Wakeling took the stage to lend his seasoned, nimble fingers to the upright bass for two unplanned trio numbers with Turner and drummer Weisgram, but the Ensemble proved themselves adaptable and patient Turner explained that sometimes guest concerts are awkward due to skill levels in the students involved, but that Clackamas’ musicians are a cut above. “They really rose to the occasion,” said Turner, “and I think they have a lot to be proud of.”
