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ARTS

Friday, March 10, 1995

w/ Grasshopper, Sarsipious ’ The Flea, and Choke To Start The Vokanu

rmance

on

for the

as a gargantuan by Brad Imprint

Hughes staff

mer’s skills. It was the perfect background to the killer &tar work. The guitar was alternately used .l as a.cleavcr and a bulldozer in their songs.% They can cut with riffs like ,those in “Allcge$T and “Scrape” or they can ptough through the crowd with songs like “‘Blew.” They mixed and matched .thesc various techniqu& effectively to keep from boring the listener. The~vocals on all the songs didnTt.,..waste

much

Studley

Too many Peter Cooks spoil the broth

mig

time between

bad, in fact they were incredibly good. It’s just that you can only put your ears to the grindstone -Ear,

calist’just chose to grunt the lyrics. His intense manner provided a com-

It was just unfortunate that Unsanc was the fourth band on stage on this night. Most of the ’ audience had started filtering out at the start of their set: You have to give them credit though. They

Dudley Moore w/ KW Symphony The Centre in tCte Square Saturday, March 4

lhe Keglottof Waterloo’s BlueBoxprO4rawt has cxpaulded, stztrti~gF&vary 1st Stable~ztrketsMW allow the Region to addMagazim, czatalo4ues, “household fivrepaper@, aBdalodwta foil wrap abdfoiltmys to therecyclingprogramThese additicmwill helprceduce the amntt of wastegoing to ana landfills!

uf New Materials Magarlnss & Catalogues Bag u bud& pars, inserts

with newspaand BeI\ t8bphfm

books in 5hJe Bms,

Dudley!

or at mulii-

r&den tid locations place loose in cart. &Q othsr books e

Multi-residential* Recycltng Carts (‘Tuw~houses, buildings

mnduminiums

and apartment

with more than six unilsj

Wace glass jars and bottk, mstaJ food and beverage cans, #I see-thtvugh “PErplastic bottles, and aluminum foil wrq and foil trays bme in designated Cart(s).

cardboard

A Warts Reduction hhtar

buss

irr

Plan hitiativs

by Jodi Imprint

Carbert staff

M

ost of us know

Dudley Moore best for his comical role as a rich alcoholic in the movie Arthur with Liza Minelli, or recall his performance in Six Weeb with Mary Tyler Moore. However, Dudley also has tremendous musical talent. He became a choirboy at the age of five and by the time Moore was ten he was studying the violin. At age eleven he was awarded a Junior Exhibition Scholarship at the Guiidhall School of Music and Drama in London, England. By the time he was eighteen he had been awarded a scholarship at Magdalen College, Oxford University, where he earned a B.A. Degree in Music and a B. Mus. in Music Composition. Moore then went on to join a London jazz band called the Vie Lewis Orchestra which eventually toured the U.S. He left the band in New York to play at a jazz club called The Duplex, in Greenwich Village. He was offered a record deal by Atlantic, while he wasplaying there but he yearned to return home to England. When he arrived back home he wrote everything from Pepsodent commercials to ballets for the first five years in order to keep afloat. The doors started to open for him when he was asked to participate in a collection of satirical skits and musical parodies, Bq~nd the Fringe. It became a huge Tony Award-winning Broadway hit. After this, Moore started makThe Music of ing jazz albums. DUL&J Moore became the biggest selling jazz album of 1965 in England. He also composed and scored the music for motion pictures. His latest release is entitled Songs Without Words. It is a collection of instrumental ballads. Moore collaborated with Saxo-

phonist Kenny G. on two pieces and has added some music from& Weeks to his original compositions. On Saturday evening however the program consisted, for the most part, of piopular works such as: the Piano Concerto No. 21, K467 in C Major by Wolfgang Amadeus Mozart; Rkapsody in Blue by George Gershwin and one that Moore is known for: Bolero by Maurice Ravel. The conductor for the evening was KU’S Music Director Chosei Komatsu. A native of Japan, he made his highly acclaimed Japanese debut with the Tokyo Philharmonic in 1990. On Saturday, there were fifity-two KWS till-time musicians and nine extramusicians for the evening. The Symphony was excellent and Moore’s talent was captivating, although the attnosphere was a little too quiet and too formal. lt was a relief when Moore changed from his formal black tailed overcoat into his burgundy crushed velvet jacket. Suddenly Moore addressed us and smiled. To many audience members, the parody of Shubert’s work depended on the audience knowing the original. Most of the time only a few people laughed; many watched the symphony members to know when to laugh, most others just watched Moore. When he started raising his eyebrows (staring at us with wonder because we weren’t laughing at his absurdities, and mleshing songs by combining the equivalent of a Mozart piece with -Happy Birthday,) people startedL to loosen their ties. Tine musical parodies provided a sense of balance to the evening’s entertainment and allowed Moore to exhibit his talent as a comedian and musician. The Centre In The Square is a beautiful building and provided a wonderful atmosphere for the night’s

entertainment.

I strongly

suggest to anybody interested in the K’W Symphony, one of only 17 full-season, professional orchestras in Canada, that you attend one of their ;performances.

1994-95_v17,n30_Imprint  

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