.. mg, sli.,1errng ·
.!.w .....
.
-�·a
belly through non-melody
·
melodies.
Familiar material - Crazy Mama,
After Midnight, Call The Doctor, Magno­
lia - surfaced from time to time in the
whispered murmur of Cale's particular
cauldron. Otherwise the set lazed and
stretched like those deep-south days that
feel like forever.
Opening for Cale, and rather unfortu­
nately so, was Goose Creek Symphony,
rls

. �ents
.ne priori­
� ,, which are rel­
,cinct, focussing on
, vocal style and in­
;:i ve, the voice and lyrics
1 ental to the total prod­
re a textural, tonal evo­
pleat delta ambience, a
' suspension of the es1u - magnolias, Span­
Jr moccasins.
�xtended instrumental
[, slurred blues pat­
.; on one's preconcep­
"Olerance level - can
boredom as much as
irsion. But on Satur­
een Elizabeth Thea­
id proved persuasive
hold the attention of
llse.
matrix of Bob Wil­
·�y Best on bass,
1 drums, Jim Kar­
Cale on guitar is
J quality of almost
i with such insidi­
is virtually indis­
next. It is some
low-key groove­
· e and studiously
!ts effect on the
finely-sculpted
l eddy of muted
ely rare scrape

r�"\,\C..6- u, . 6-,

g<rod-timey Ill '
they have dispe,
original members. L1gnr:11tci....gling fiddle-funk has made way IL­
band that now takes its music seriously,
and they simply don't have the re­
sources to do it right - Goose Creek, in
spite of occasional reference to their
past incarnation, are now heavy-handed
and weighty, the new direction a decided
disappointment on all counts.

i;-

Avant-garde- assault by group
By MICHAEL QUIGLEY

Three very avant-garde works made
up the bill Sunday night at the Vancou­
ver East CUltural Centre in a program
featuring the local improvisation/intui­
tive group Musique Par Coeur.
An item by the group's four musicians,
presumably improvised, was the high­
light of the evening as far as pure ener- ·
gy was concerned. It boasted an open­
ing notable for its imaginative instru­
mental coloring, which was followed by
some high-powered percussion work.
This was topped off with an exhaust­
ingly wild sax solo complete with chor­
eography by Ross Barrett which, as a
man in the crowd aptly said, was a far
cry from the Vancouver Early Music
Society.

."

Don Druick's Motifs began with four
keyboard instruments repeating the
·same short series of notes, and moved
into a theatrical frame with two actors
reading a series of words ov� and over
with different inflections.
The program's first half consisted of
Devotions by Steven Wilkes, a work in
seven strangely-named sections.
Interesting. mainly for the vocal pyro­
technics of its two singer-actors, Lynn
Bennett and Gary Pogrow, this piece
ended with an ethereal duet for flute
and Ms. Bennett which was especially
lyrical in view of some of the musical
atrocities which had preceded it. The
assaults on the centre's piano in parti­
cular were worfhy of a B.C. Director's
warning of ''excessive brutality."