REVIEW: Department of Jazz Showcase

Perhaps it’s all in my head, but there seems to be some sort of hierarchy of warmth in music. Maybe it’s the key in which it’s written, or the tone of the singing, or the instruments used. Some genres seem to strive to chill to the bone, full of macabre lyrics and intense strings of guitar melodies. Others cradle you like a loving parent, soothing with soft singing and a smooth, slow tempo. Truly, the distinction between songs that are cool and warm is so defined it might be able to cause a tornado if two music pieces clash.

To me, jazz always oscillates between warm and hot. The smooth, subltler variety brings forth sweat on the brow, draws a low breathy sigh, and it condenses in the air around us. We are enveloped in a holy environment then, and we are contributors to the mood, just as members of a jazz ensemble each contribute their own emotion to a piece. A few of the groups tonight offered this style to us, dealing in low thrums of the upright bass, the curling upward tune of the saxophone, the smooth brassy sound of the trumpet. Most of these pieces were already composed, either by members of the groups or well-respected musicians of the past. The velvet lining of the chairs and the fanciness of the food combined with the music to make the room swell.

When it runs hot, the tempo quickens. The brass sings higher, every instrument finds a place to work inside this great machine. Dampeners are thrust aside in favor of fighting any tiny crack of silence, and chaos comes alive. New, short tunes spiral off from the main theme like grand handfuls of confetti. It’s exciting and exhausting in the best kind of way. Music of this sort invites crazy dancing, fancy clothes, glitter and sequins and jewel-toned heels.

I appreciated all the groups I saw that night, though I was most taken by the all-female group. They played many songs the members had composed themselves, and introduced them well. I could imagine how the meandering notes explored the themes of maternalism the pieces were about. It was useful to have some background to round out the experience. Also, I’d be a fool not to mention the amazing (freshman!) drummer who performed with several groups this evening. I tragically did not write his name down, but I will always remember him for his great sense of rhythm and attention to the pressure needed for each beat.

The Creative Orchestra group had a similar impact on me, though not quite so positive. The whole thing was improvised, which is impressive in itself, and hey started out well, trying out a haunting tune on the harmonium and mixing it with a disturbing vocal melody. The pianist went on with its own somber song. Soon, all the strings and brass and the toy piano joined in, but they did not blend as well as I would have liked. Unlike the other groups, the instruments did not inform each other; they clashed in tone and created a tuneless cacophony.

While I didn’t much like the direction the group ended up going, I cannot deny it had a certain effect on me. It ran hot as jazz does; it abruptly filled me with anxiety; it forced me to try and pick out some kind of order among the chaos. Regardless, the variation and improvisation exhibited throughout the night was a clear indication that jazz will have a healthy, vibrant future.

 

PREVIEW: Department of Jazz Showcase

Tired of the relentless droning on of the work week? Can’t quite wait for the weekend to release yourself from monotony’s cruel grip?

Then head on down to the Blue Llama Jazz Club tomorrow, Thursday, November 7, at 7-10pm to witness a spectacular performance by Michigan students and faculty of the Department of Jazz and Contemporary Improvisation! The group will be showcasing both their own compositions and classic jazz songs by some of the old greats.

The cover is free with the purchase of food or drink, though there will be a spot on the check for you to offer a tip for the night’s entertainers. Show up when the mood strikes, or stay for the whole evening. Due to the popularity of the establishment, it is recommended that you make a reservation ahead of time, which can be done here: https://www.bluellamaclub.com/event/u-m-school-of-music-jazz-showcase-2?fbclid=IwAR1Wo3BvqFEDqP5g_F6bYudYogisFpNsWsv9ET2nayrF5ZudCzUwTdZeLLQ

Hope to see you there!

REVIEW: International Studies Horror Film Fest

Another year of the annual International Studies Horror Film Fest has come and gone, and with it went my hope that they would show actual horror movies.

Don’t get me wrong; the selections were wonderfully artistic and variable in tone and theme and texture. All three featured original plots and unsettling undertones. They each force a bit of creepiness into one’s idea of the world, while remaining quite beautiful. However, I would have appreciated at least one fully, overtly gruesome movie in the program. The gore was almost nonexistent in all of the films, limited to a few scenes of graphicness apiece. I found myself groaning over the romantic subplots and long periods of calm while trying to focus on the main stories and character dynamics. On Halloween, I need fear to rule. This can be done in complex, story-rich, writerly ways; the artistry of a film need not be sacrificed. Thus, even if the fest’s planners intended to get together a group of intellectually stimulating movies, they could have done so while giving the audience a little more of a scare.

Face was basically CSI or Criminal Minds in all it accomplished horror-wise. The whole movie seems cast in shadows, plagued by an uninspired soundtrack and TV-drama style acting. But the pace of the film was perfect, a slow reveal of a shocking truth whose slime does something venomous to the psyche of the audience.

The Lure was an entire musical, and certainly the only movie of its kind, however impossible to define that may be. The heavy glamour of the strip club pairs so well with the mythology surrounding mermaids, and the girls’ dead stares were a perfect balance for all the life in their musical numbers. The unwholesomeness of the young girls participating in this business combines with the sexual power of mermaids in lore to create an uneasy feeling for the audience, similar to the trickery sailors face in all the stories. But even with the violence and the complex uneasiness, this movie is far closer to a comedy than a horror film.

Dogtooth seemed like something I should have enjoyed, given that its creator is the same man behind The Lobster (a movie which, after watching, made me feel so unmoored that I literally held onto street signs as I walked to the bus stop, certain I’d blow away with the wind). It bears obvious similarities in how the cast is directed to act (basically emotionless, flat) and the minimalism of the indoor environments. But it falls short of creating the same level of effect for me that Lanthimos had in his later film. I think he realizes later in his career that there is a limit to the lack of expression he can write into his actors and the barrenness of the landscape before it becomes too offputting for the audience to focus on the story. In short, I got bored, and the beauty of the expertly done lighting and the carefully constructed garden space did little to change that. Some emotional music would have gone a long way.

Truly, these movies have tons of artistic value to consider and appreciate. In another sort of film festival, they would be great additions (and indeed, they have been inputs of such festivals as Cannes and Sundance), but I still hold that they are unwise selections for a true horror fest. I hope that next year, they have more time in the gallery to show an extra movie that a Halloween lover would appreciate.

PREVIEW: International Studies Horror Film Fest

 

Halloween, though it has already been upon us for months, is now extremely upon us. Somehow the most important holiday in the universe does not warrant a day off of school (meanwhile, some still legitimately celebrate Columbus Day), so we must do all we can to work around our schedules to properly honor this spiritual time.

Thank the Unholy Lord of the Dead that the International Studies program is continuing horror film fest. In its seventh year, the free program will include three foreign films (subtitled in English) for all to be terrified by. Come by the Hatcher Graduate Library Gallery (first floor) between classes, or if you’re especially dedicated, skip them all and stay for the whole time. And I better see you all in costume, or else.

The movie schedule is as follows:

10:00–11:30 a.m. — Face (2004, Korean)
11:30 a.m.–1:00 p.m. — The Lure (2005, Polish)
1:15–3:00 p.m. — Dogtooth (2000, Greek)

https://events.umich.edu/event/68410

REVIEW: Nosferatu

Nosferatu is oddly enough a character who is easy to relate to. I, too, am looking for suitable housing (an impossible task in Ann Arbor), sleep at hours these mortals deem “strange,” and have an awkward gait. But more deeply than that is a common feeling between Nosferatu and I of a sensationalized otherness. Perhaps his placement as a social pariah is based in folklore more ancient than my own, but the results are the same, creating a clear boundary between ourselves and genteel society. But this is not a feeling I suspect is unique to myself; however much we interact with others there seems to lurk some lingering doubt of our place amongst humanity. It is exactly this relatability to the undisputed villain of a story that enriches and truly enthralls.

Besides the titular character, I am most struck by Ellen, the heroine who is married to the real estate agent that is saddled with the responsibility to sell Nosferatu a house. She is the epitome of 1920s silent film glamour, with her wide eyes, expressively drawn eyebrows, and impossibily pale complexion. She is similarly ghoulish in appearance to Nosferatu, looking perfectly skeletal in the strength of her jaw and the hollows of her orbital cavities. Although the lady in distress act is a terrifyingly misogynistic trope, I think she is still able to exhibit her character’s strength even while continuously fainting and falling all over her brave husband. She is the reason Nosferatu is defeated, even if she is not credited much for her bravery. And through all the distress this lady goes through, her ringlets remain immaculate.

         

The movie as a whole is simply so encapsulating to experience. The architecture is dominated by heavy stone and dense wood, underground cavernous spaces and grand buildings that feel claustrophic despite their massive size. Though created and set in a time after the gothic period, that sense of aesthetics is present in all aspects of the film, from the buildings to the formality in the characters’ behavior and clothing.

Furthermore, the great Andrew Rogers added to the ambiance and feeling of the movie through his greatly talented organ playing. After the show, he came on stage and answered questions about his work. Amazingly, though there is some composed music for Nosferatu’s organ accompaniment, Rogers chooses to play it freestyle, taking his love of the movie and his knowledge of the instrument and turning it into song that perfectly plays up emotional moments and adds tension. He spoke with such passion, and I could feel how much he cared for the organ and its preservation. Though the movie is an hour and a half long, he doesn’t feel so much time passing, equating the performance to ten minutes of playing. His commitment to keeping this art form alive is truly inspiring, and it was so nice to see how fully lost he got in what he loves.

Andrew Rogers speaking on his experience with the ancient organ (which has just been completely refurbished, a painstaking procedure that was long overdue!).
As promised, I dressed for the occasion.

If you have not seen Nosferatu, I’d recommend renting it, especially during this Halloween season. Watch it alone in a dank, dark basement (if you dare) or with a group of friends and family all dressed as your favorite characters. Though I have not had the pleasure of group Nosferatu costuming, I feel that applying and rocking a bald cap with the people you love is a fabulous bonding experience.

PREVIEW: Nosferatu

I hope everyone is enjoying the Halloween season (though truly every season is Halloween) by immersing yourselves in as much spooky media as possible. Decorations, candy corn, and research into ancient gruesome myths are all important parts of a healthy Halloween diet, but we must not forget to honor the great movies that never fail to get us into the spirit.

While the genre of horror has become something wildly artful and haunting over the decades, we must look to the classics that provided inspiration for the present. That is why I will be attending the 7:30 pm showing of Nosferatu at the Michigan Theater on Wednesday, October 16. The night will feature live accompaniment by our resident organist Andrew Rogers! The 1922 silent film follows the life of one of the original vampires ever to be depicted on screen, modeled after Bram Stroker’s Dracula of a few decades prior.

Until then, I will be busy learning how to apply a bald cap, because (of course) I will be showing up in full costume. I invite you to come sit with me (I’ll be quite visible), and encourage you to wear your own frightful fashion.

Tickets can be found at michigantheater.org.

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