Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (March 1, 2006)
ntertainment Clackamas Pri Wednesday, March 1, 2006 Student jazz trio performs in cafeteria every Friday Elizabeth Hitz The Clackamas Print Elizabeth Hitz Clackamas Print Music students Zach Sears, Jesse Liebman and Eli Sears play bass, drums and piano (respectively) in the Impermanence Trio. Welcome Amigos Mi Casa Es Su Casa TACHO’S Thursday Nigh ts Margaritas and beers for the LADIES ONLY only $1.50 from 9 p.m. to midnight! 515 Mollala Avenue Oregon City, Oregon 97045 X 503-655-5562 Fax: 503-557-3121 KITCHEN HOURS: Sunday to Thursday 11:00 a.m. to Midnight Friday & Saturday 11:00 a.m. to 2:00 a.m. WwMHWmWWIR We also have carry out «K «»mm Thich Nhat Hanh, a Buddhist monk, believed impermanence was a necessity. “If we are not empty, we become a block of matter,” he said. “We cannot breathe, we cannot think. To be empty means to be alive, to breathe in and to breathe out. We cannot be alive if we are not empty. Emptiness is impermanence, it is change. We should not complain about impermanence, because without impermanence, nothing is pos sible,” Those words perfectly sum marize Clackamas’ newest jazz group, The Impermanence Trio. Impermanence strives to change and evolve old classics into something new, something bet ter. As bass player Zach Sears stated, “there’s not anything I hear that does not influence me.” The Trio may play the same song more than once, but always in a different key, or accompa nied by an impromptu improvi sation in the music.: All three Impermanence members have strong person alities. From Eli Sears, the pia nist, with his laid back style and spontaneous “play it again, Sam” solos; Eli’s brother Zach Sears, the bass player, whose fire and sincerity are burned into his face; to Jesse Liebman, the drummer, whose steady beat and occasional wry comment balance the other two. Yet for all their differences, the three share an intensity that flows into their music. Blues, Bossa Nova, Latin and Funk are all in the group’s repertoire. However, the group plays mostly modem jazz stan dards which are “songs or musi cal compositions that has been widely played and interpreted by jazz singers and instrumen talists for many years.” Songs like “Nardis,” by Miles Davis, or “Giant Steps,” by John Coltrane. Impermanence has played for several college staff functions, and currently plays in the caf eteria from noon till 1:30 or 2 p.m. “They seem pretty good,” said David Smith, a Clackamas weld ing student. “It’s calming music so I like it.” Smith and other students come to the Coffman Lobby, where the Impermanence- Trio played before switching to the cafeteria, to study. The Trio is in the middle of recording their first demo CD, which will be finished “as soon as we get the studio time,” laughs Liebman. Impermanence has only been playing as a group since November. Future plans for the group are vague, but include playing at more places in the city, and eventually* as they put it, “release a decent CD.” Anyone interested in The Impermanence Trio should check out their websites at www.impermanence.us or www.myspace.com/imperma- nencetrio. The group is also participat ing in the college Jazz Festival. They will play March 17 and#18 at noon in the Coffman Lobby. “We want to evolve and change,” Zach Searts said. “The whole point of music is to express yourself.” ‘Clockwork' brainchild of Clackamas students Kimberly Schiewe The Clackamas Print The Niemeyer parking lot may not seem like an ideal place to make friendships and business partners, but for Chris Hoppie and Isaac Liss, it was perfect. Hoppie andLiss had no idea jump ing a car would create Clockwork Entertainment (nameunoflicial). Sean Nacoste and Sam Schmitz collabo rate with Hoppie and Liss composing beats, lyrics and demos. Clockwork Entertainment records all music in Liss’s poolhouse in Milwaukie, but they plan to expand and eventually record in various locations. Schmitz describes their-music to be, “almost like a diary... nothing is pre-meditated.” “When you take the beat away it’s like poetry in motion,” said Hoppie. Liss said, “The lyrics accentuate die beat It’s mood music.” - Their CD proves that they have serious talent. The group describes their work as a sort of musical diary, and their writing focuses on real life subjects. Self-taught Clockwork Entertainment’s members show true potential, and their music brings more opportunities to grow melodically. The tracks include songs about love, spiritual innuendo, getting down at the club, personal experi ences of the members and shout-outs toCCC “Cougars” was all about Clackamas girls’ basketball team. Behind the music they added sounds from an actual game, such as squeak ing shoes on the gym floor and the crowd’s cheers. It was catchy and original, and will probably get a lot of great reviews from basketball fens and players. The women’s basketball team warmed up to “Cougars” by Clockwork Entertainment before their game. Many of the players sang along and moved to the beat ‘Tf they arereally all self taught, then I’m impressed,” said Logan Danforth, an underground music fen and student at CCC. “The quality of the music is really good. I’d play it in my car.” After promoting their first demo last year, the group landed a show at the Paris Theater on Dec. 23 . “The show went really good,” Hoppie said. Clockwork Entertainment is looking at producers such as LA Connections and Flameworkx in Las Vegas, Hoppie’s hometown, to pro mote their group, and allow their music to be heard.* If they continue to make music with the same style and originality that they have been, it would not be surprising if they get a record deal. o u V\ 77/¡ Nineties arcac days gone, but n dead to the faithfa Recently a few of t favorite gaming magaaj ran rather nostalgic arid on something from my p that’s almost completely 1 on young gamers of today. No, I’m not talking abc physical athleticism ... f talking about where it; began for almost eveiy gam of my generation and the ga eration before me - coin-op ated arcades. I can still remember i first arcade. At eight years o! while killing time during a little sister’s skating les every Saturday ining. would somehow con (swim! beg, whatever) $5 out of i mother and go running up the arcade in the middle the food court at Clarion Town Center. Games c a quarter, and although | arcade featured such class as the prize claw, and a couj ski-ball machines, they a had some of lhe newest] hottest games out like "M Jam,” “Super Street Finite Turbo” and “Area 51.’ My sister’s lessons i only an hour, and five to didn’t last that long, bo didn’t even have to play enjoy fee arcade. Eveiy o in a while two gamers (wh spent far too much time, money on one mach.nei $ start dumping quarters ini “Mortal Kombat 11” mad as they’d battle head-ton to see who was best Pa would gather in large mini to cheer them on, as if ¡to two kids in a playground fl At flie end the only things! were the loser’s ego an wallet This is how heroes made for an afternoon atari week in and week out M sensors and virtual weren’t developed en practical use, and there t no skateboard control! weight-sensitive dance forcing players to con offensively unnatural wa lhe entertainment of o ers. Players’ minds were integral to their abilities, w made the games ever, less criminating. Now kids sit at in front of their c os or Playstations, i the world around them, common for garnets to themselves off just so they enjoy the fantasy of from the police in the co of their living room, ors dragons in their desk until the sun rises. This never what gaming m me. It was a gathering' it didn’t matter what gender someone belo as long as they could a fatality combo and en the masses around those ing coin-op machines. I In a sense, it was a an example of the world political leaders have claij for years they’re striving | one where personal J ences were set aside tori sake of a common go® good old-fashioned puttj whooping. I
