The gamecock. (Columbia, S.C.) 1908-2006, April 20, 1988, Page 6, Image 6
*House of the Sleeping i
Hwong's cult
By WAYNE YANG B
Assistant copy desk chief
Bridges can be conveyances, a 111
means of getting from one place to ill
another, or, like San Francisco's Ip;
Golden Gate bridge, they can be lli
destinations in themselves.
I iiiMi I nlKnm s \ i~ m r
Il.ulki i mwu^ 3 aiuuiu it i/mjc IJJ niv.
the Sleeping Beauties is a cultural del
bridge, and it is a destination in the
itself. mc
"The thing which distinguishes th
(composers like Hwong) from ins
other composers, is that they represent
a dual tradition," composer mc
Philip Glass writes in the liner coi
notes. he;
"Not a borrowing from one the
tradition or incorporating the ba<
sounds of another, but a real blending
of Eastern and Western ch;
music." bui
"Above all," he writes, Hwong res
has "an individual voice." zitl
Hwong, who wrote the music for
David Hwang's M. Butterfly, aptly arv
creates this "individual voice" dri
through skillful orchestration of th<
Eastern and Western sounds, the Hv
movement of violin with pipa, or the
the saxophone with zither.
Like Kitaro, Hwong represents he;
the coming of a new Asian culture, tut
but her music is different and Hv
without a lot of the heavy percus- 1
sion of Kitaro's music. She builds coi
her music on girders of synthetic am
illtn.1 . II it
She uses this pulse in frenzied po
pieces like "In (he Dream." Here, fer
Hwang's pipa can be seductive, mc
both in its sensuousness and in its am
storytelling qualities. At one mo- mc
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LitruMfitro !
ural bridge m
Album
iRera&B llllll*
r 111
nt, the pipa is floating on
licacy ? wind chimes striking in
, i/ovn^' wuuu til 11IC I ICAl 111VJ ~ ^
nt, it is competing against syndic
frenzy and hornedtrumcnt
wailing. &|gl
'Dragon Dance" is Hwong's
>st exciting piece on the album. It
nbines the zither, the pipa and a
ivy, driving percussion. The syn:sizer
bumps and grinds in the
rhough there is no discernible
nige in forte, the song seems to
ild on itself as it goes into its
pective solos with the pipa and
"Everest at Sunset" is majesty
d glory. Here the violin, with I
jins roiling in mc oacKgrouna, is [
; principal instrument, and
vong uses her pipa to accentuate
rhe synthesizer cuts in with slow,
ivy notes, and the piece evenilly
dissolves into the wailing of
vong's other horn instruments.
Hwong proves that she is an ac- rasp;
nplished musician of both Asian
i Western instruments. Unlike
ditional Chinese classical comsers,
she is willing to use difent
instruments to establish
>od ? slicing back to introduce Ktira
3ther instrument and another t '
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A
:oustic night at Rockafellas
Vectors members
& nP * \
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ffey'^pf^j\':-?-J^ f 'f .^jBEjKjKJjj
mg^mmm i^Ly i>v^^s
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here to play, have a good time and make the audiei
irles Grace of The Vectors.
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I 253
IjJDEQSI c?uf
L? jss
)
take boredom
recuperate from the wee
watch boring Sunday-nigl
sion. This is a sad case whi
short distance away, everj
( ; night, a variety of local
showcased at Rockafellas'
night. Typically, one or tv\
: take the stage with their gu
play until there arc no son
their repertoire to perform
\ ^ sion is free. It's on Sunday
?W BmmBSSBjfa This past Sunday, two m<
T A nVnl the popular local band Thi
1 r\ Hilh performed on acoustic night
i / viflHll W C(' (hat Craig Wright on g
I ll Tmll I Charles Grace on drums, ;
L'A HOB H and milk crate didn't take U
N& u HI fi seriously. It was obvious
v u h^hi| h were mere 10 piay, nave a g
HMiHU anc*' 'n ^c,wccn< make the
happy. They were sm
j Though at times flawed, thi
MiffTrJM tained sonic moments wl
?/ tentional or not ? tl
damned-right fantastic. Wl
ever think anyone could it
. sion of Bob Dylan's "Kno
^^HranB Heaven's Door" with Bob
JP^H off? Wright and Grace som
pk. ' mSPI complishcd this feat. Graci
kfll like pounding of his drum s
fuel Wright's sinister inter
Wgjg.j of the two songs.
Wright and Gracc have a
ding stage presence and unic
taining styles. This is eviden
their songs, which includ*
such as "Baby Blue," "B
Glory" and "Long Blac
along with many originals
drums, Grace's expressio
changes unless it's as if he's
l/CA DEAN/1 nt Gamreock real'Zed he'S actually abidir
pelling a certain song thrc
nee happy, was cessfu,
completion. His
:? ?>:? ?>.? ?>:? ?; >'
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tllV |
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<? p
out of Sunday I
seems to echo, "I'm here; I'm going
to play this damn drum for you; and
er be bor- you re going to like it! ! :
Craig Wright, the second half of
aside to the duo, is one of those rare talents j ;
al work, that puzzle reviewers ? he too makes ; ,
:kend or you like him and the music he's i ;
it televi- creating. At times during the set, a ;
en only a sense of concentration seemed to sur- \ \
f Sunday face. It was at these points that the I j
talent is possible magnitude of the duo's fj
acoustic talents came to mind. For example, y
'o people Wright's interpretation of Kristoffer- j ]
litars and son's Joplin made the classic "Me H
gs left in and Bobby McGee" contain some of |!
. Acinus- the above- mentioned powerful
. Overall, moments. Wright's voice, sometimes
sharp, sometimes gravel-like and at
imbers of other times raspy, delivered this song
i Vectors and a few others during the night.
. It seem- One could not help but detect some
uitar and deep, personal link between the tune
iccordian and the performer. With his
lis gig too shoulders slightly raised, Wright
that they would cautiously approach the
;ood time microphone. His hair for the most
audience part covered his eyes, but at times, a
ccessful. jerk from his tilted head would be
e set con- employed, removing the hair from
hether in- his face and also accentuating a cer- (j|j |
lat were tain word or line in the sonc he was U
io would singing. In this particular number,
lix a ver- when Wright sang, ". . .one day I'll
eking On miss a beat/ oh, no. . .you know I'll
?bie Gen- let her slip away/ She's looking for
nd pull it that home and I hope she finds it/
lehow ac- Well I'd trade all my tomorrows for a
s's heart- single yesterday/ To be holding
eemed to Bobby's body next to mine," one
pretation could see and hear that the words had
some root somewhere in the pcrcomman
former's soul.
iue enter- The duo continued throughout the
t through night with brief audience interludes,
: classics an impromptu duet with a Los
ound for Angeles band and many more
k Veil," original and classic songs.
. On the Wright and Grace of The Vectors
m rarely performed at R^ckafellas' acoustic
suddenly night to have fun and to entertain. ,gt|
>g in pro- From the audience's approval, the *
>ugh sue- latter was achieved, and I can but onattitude
ly speculate that the former was also.
from the
M" vLT^
to< *r* r?tfy(eO k* ? ? 10M?
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