{ title: 'The Spectrum (Buffalo, N.Y.) 1955-current, April 27, 1979, Page 14, Image 14', download_links: [ { link: 'http://www.loc.gov/rss/ndnp/ndnp.xml', label: 'application/rss+xml', meta: 'News about NYS Historic Newspapers - RSS Feed', }, { link: '/lccn/np00130006/1979-04-27/ed-1/seq-14/png/', label: 'image/png', meta: '', }, { link: '/lccn/np00130006/1979-04-27/ed-1/seq-14.pdf', label: 'application/pdf', meta: '', }, { link: '/lccn/np00130006/1979-04-27/ed-1/seq-14/ocr.xml', label: 'application/xml', meta: '', }, { link: '/lccn/np00130006/1979-04-27/ed-1/seq-14/ocr.txt', label: 'text/plain', meta: '', }, ] }
Image provided by: University at Buffalo
Vinyl Solutions a* I a. c/) 3 Van halen to Triumph Van Halen, Van Halen II (Warner minutes later the anticipated moment arrives as a tune called \Get Me a Doctor\ takes us to Van Halen’s true home — high powered rock. This song brings the solid drumming of brother Alex Van Halen, vocals of David Lee Roth and bass playing of Michael Anthony to the boiling point with Eddie blistering all the way. His guitar solos, tonally big on distortion and vibration, are what really sets it all ablaze. Eddie achieves his sound through a reworked Strat with his whole style based on a furious \attack and conquer\ method that rarely fails to deliver. His intro to the One of the moments of this Bros.) album is a 58-second acoustic solo piece by Eddie called \Spanish Fly.” Melodically played, it creates the perfect image of a tiny fly dancing across the frets as it rhythmically lands on the strings. All this and absolutely no loss of the Van Halen power, unlike most acoustic pieces, which tend to be laid-back. The energy shortage hasn't quite got to the group Van Halen and especially not to their lead guitarist Eddie Van Halen, who soars through riffs here with ~ OPEC-like power. If I seem to key £ in on Eddie it’s precisely because he is the group. His outstanding guitar work — the art in it's ® heaviest form — is the group’s focal point and backbone, as exemplified in their latest release Van Halen II. Unfortunately, the album doesn't start out with the power it’s packed with. The first track, familiar to Linda Ronstadt fans, is \You’re No Good,” and it simply doesn't click the way the remake of the Kink’s \You Really Got Me” did, off of Van Halen I. However, two songs and six The album is not without error. One of the big problems is a screeching vocal technique Roth and uses and wears uses out. It was a neat trick to hear on the first album and might even be on this one but its excessive song “Women :n Love\ is a superb example. Although it is relatively light compared to his usual style, it lacks none of the amazing techniques and forceful distortion of his weightier works. presence (the guitar screams enough for both) makes it a tiresome detriment. The only problem with Eddie is that because his lines as good as they are hold such distinction, they BROTHERS; Percy and Jimmy Heath carry a wealth of musical tradition. Percy (right) is the bluestrumming bassist whose tenure in the Modern Jazz Quartet is legend. Jimmy’s wailing reedswork carries a serenade that has influenced many a master. John Coltrane for one. Both bring the bop to stomp today's dance. can quickly become over used. Though it is barely noticeable The Heath Brothers with only two albums to compare, the real test will be future releases. And these should be something to look forward to as long as the energy of Van Halen and their lead guitarist burn on. Jazz for people to hear in camaraderie the reedsman’s showmanship, Heath being most responsible for the underlining on-stage byplay (No doubt his time with Dizzy Gillespie served him well). Percy Heath is the earth-washing shake-it-on-down bassist whose mastery became an integral factor in the Modern Jazz Quartet He brings out the eloquence and the sassy wit of this Music with great force. Eileen Lee by Michael F. Hopkins Triumph, Just a Game (RCA) The rich, the rare, the common thoroughfare. The coming together of a flirtatious savoir faire/au conlraire into a winsome lady of strength, suave, a love by which to swear. The lady indigo is timeless and right on the minute. Life grows from her hands, a shine reflecting her smile. She’s firm and pliant, searching and resolute, laughing in the wind and grim with the vastness of skies to share. Triumph brings m a good score on their second American LP, \Just a Game.\ The Canadian rockers, consisting of Rick Emnctt on guitars and vocals, Gil Moore on drums and vocals and Mike Levine on bass and keyboards, play some good rock through their first three tracks although there’s nothing elaborate in their sometimes too standard moves. In fact, until they reach their most popular song, Fire hunt surge Keith Copeland is the throbbing drummer, great power bulging muscles twinkling fingers feeling out measuring pounding taking out bring home the meaning of Beat His is a percussive dexerity so explosive in precision, as if Art Blakey were one with the spirits of African warriors in quest of the freedom calling thru the first Drum. For Copeland, the walls will either part or be parted. Tony Purrone is a beautiful guitarist; fast, fulfilling and with the ready eye of fingers plucking out the knowing message. Vogues of those first, fiery electric guitarists of swing and bop mingle with Wes Montgomery lavender to melt the coldness from ears. Music is a mother, children . . . and the Heath Brothers spread the babe around. Mama made it burn! Papa’s holding more than bags. “American Girls,” it looks like a forfeit; but instead they make this the turning point. They reveal an outstanding surge of power and boogie that makes the previous songs sound like mere warm-ups. This may have even been part of the game plan, but it's highly unlikely. From here on in the group shifts their efforts to the max, and they keep them there for the rest of the album. In fact, the complaint was they were sticking too close to “the rules,” then by the second side of the album the remedy has been Heaths and Hearths Marking the 5th anniversary of the jazz Report (now covering Buffalo/Toronto & Cleveland/Akron), the Music of the Heaths was tight, together, loose and full of friendship in the real offering. Very clear it became before long that this ensemble enjoyed performing together very much, and this ease in cameraderie quickly drew the audience of the Tralfamadore Cafe into the free-wheeling play. Digging into the essence of the bop (and not stale posturings to cop), the Heath ensemble turned the lyricism in, out, and all about; conductors of an ageless journey in which everyone delighted this Friday past. The nimble nurturing of totally singing beat has been a trademark of the Heath Brothers for over 2 decades, and now that they are active participants of Columbia Records’ overdue straight-out jazz line (Woody Shaw, Bobby Hutcherson, Arthur Blythe, etc.), the Heaths should gain even greater recognition for their intrepidness. Jimmy Heath’s deep gutbucket wail and balladry sails in his play on the tenor saxophone. Heath was greatly admired by John Coltrane, who was a good friend from the Philadelphia of the 50’s. Heath’s soprano saxophone sound combines Coltrane with the moan and rhapsody of the first soprano grandmaster, Sidney Bechet (A touch of Johnny Hodges, tool). The flutework of Heath is simple, stark and sweet. Making all this greater is the humor and taste in which all this comes together in found, as diversity becomes the name of the game. Some mellow acoustic and picking moments arrive through a short classical guitar solo by Emnett. Executed well, the piece is strongly reminiscent of “The Clap” by Steve Howe. But why make a comparison with a progressive group like Yes? Well, it inevitably comes to mind when the following track “Hold On” takes its turn. The song opens with a 12-string intro that becomes the gentle back-drop for Emnett’s vocals, which intentionally or not, hold an astounding similarity to those of Jon 'Anderson. The last track, \Suitcase Blues,” is yet another surprise — a slow blues tune with an easy acoustic-jazz background. It doesn’t, vocally or instrumentally, resemble anything else on the album, but it contains the variable dynamics and steady balance that is a constant feature. Stanely Cowell. A pianist whose mastery of the Music so totally encompasses the swinging surge, taking one into the tightest beat, the freest heat, and the oneness of the dancing flame. His Arista-Freedom Brilliant Circles (w/Shaw, Hutcherson, etc.) is a classic example of this, and he surely gave the Tralfamdore audience his full curve. Rumbling base boogie hunt fingers fly Tatum stomp into fearless romp Wallering fierce sun gentle touch Tynerish pounce Byard bounce up jumped the griot unmasked Stanely Cowell, rising. All this came together. Percy’s cello on “Watergate Blues” sounded the bold cry of bad, boldly challenging street blues guitar confronting stone jungles. Jimmy’s “A Time And A Place’’ sang an insistent down-home romanticism akin to some Horace Silver lore, while Stanely’s \My Moon” brought the insistency working out in flamboyant indigo. Actually when it is all over one can find something for almost everyone on the album. The different modes of music that Triumph plays around with, make the listening pleasant and the —Eileen Lee The Heaths and friends need no golden stair. Mama’s got wings to beat the brand! Watch for game fun hands. Friends of CAC present: “A MASTERPIECE! NOTHING SHORT OF A MASTERPIECE! STUNNING! SLEEPER HIT OF THE YEAR' IT HAS TEN TIMES THE ENERGY OF MOST CONTEMPORARY FILMS! —Rex Reed, N Y Daily News W; PG Friday, Fillmore 170 8 & 10 pm Saturday, Diefendorf 146 yi/Q9®-„ 509 Elmwood Ave. (Near Utica) Offers you the chance to be a MODEL advanced haircutters (trained, experienced haircutters, studying advanced techniques) a $20 value for $5.00 .Call 881-5212 for an appointment WASHINGTON SURPLUS “TENT CITY\ 674 Main near Tupper 853-1515
