University of Tennessee Knoxville - Volunteer Yearbook (Knoxville, TN)

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$in . performer twenty four-year-old t h 9 u o r.- b s H a s '1 a M 9 n i n n i .w V. m m a r G e h culture to the campus. With his trumpet he demonstrated jazz mastery with his trumpet. Many tuneswere sultry, others be- he created vibrant designs of classical jazz. hopping. Photo by Peter Harrisi iPhoto by Peter Harrisi T T kunmwam iCooli Marsalis it 1 km Student Life Fall Plays i; ix ail 42 7w imam. 4 rvldymzw a LEI Hm

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The Bands Make the Party hWe girls usually judge what hatemity house were going to by the band thatls playing there. Having a band really makes a partyf' llt's amazing how many well- known bands there are for frater- nities to invite to play at their parties. You can tell the popularity of a band just by how many people show up. ltls like the guys are competing to get the best bands, too. liHaving a live band, especially one you know well, really makes the party fun. Everyone seems to dance more than usual. Some people go crazy and get up on stage and sing with the group. Most performers don't mind it, i! you donlt really disturb their playing. We all just stand around, singing along with the people on stage. Thatk a lot of fun. wl'herek more socializing at a party, too. You know everybody will be there. It's a great place to go and see whose now with who, or what the guys in the frat ate like-things like that. You have the freedom to leave and come back whenever you want. My friend and I also think ifs a good way to meet guys? -Linda Hawk, Junior in Fashion ' u Merchandising

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P utting away his horn momentarily, Mar- salis lectured the audience. His lesson was based on a metaphorical comparison of the elements of a jazz group and the basics of an automobile. tPhoto by Peter Harrist Technology is Part of Music 0! course, from a technological end, things are r completely different in a jazz V performance. Tor instance, the stage plot is never as it is Hrst designed to be. The stage plot is the diagram that will apply to lighting, posi- tion and the places the per- formers want amplified. We usually have direct sound lines ham the amplitier to the house system for quality sound. I! we have control a! the in- struments and their amps, you can get a nice balanced sound; the problem that may come about is a bassist who has decid- ed to run his own balance and not use our house system. That means we have to adjust our sound to balance with his. Wl'hat's why it's so loud sometimes at these perfor- mances. We're not trying to blow the audience out o! the place, it's just that some performers will crank thelr music because they like to hear themselves. So we have to raise our sound tot com- pliment theirs. It's not just bassists, either. Some drummers get carried away when the adrenalin starts tlowtng. W! the opportunity permits, '1 like to listen to the performers. However, instead of really enjoy. tng the show, I am listening for feedback problems, or different musical aspects of the perfor- mance. I'd much rather be in the audience listening and enjoying It, thoug f --Harvey Smeltzer, Music Hall 4 Coordinator B assist Bob Hearst was compared to the wheels of a car in Marsalis' lecture on jazz. Hearst unleashed jazzy notes for Mar- salis. tPhoto by Peter Harriet Fall Student Life 21