Live Joni - rough, elegantBy Gary L. Presley

The LanternReview

Joni Mitchell gives herfans another nudge withthe release of her sec-ond live a lbum ,"Shadows and Light."

When listening to thealbum for the first timemost of the songs on"Shadows and Light"sound rough and un-finished compared tothe studio versions.

This is because Mitch-ell has changed thephrasings in some of thesongs and drastically al-tered the arrangements

in others.Mitchell' s voice also

sounds a little rougher ,like it has an edge, inthis live setting.

But her voice becomesclear as she elegantlyeases into the jazzphrasings of "GoodbyePork Pie Hat."

"In France They KissOn Main Street" and"Free Man In Paris"were originally lightand breezy, slightlyjazzy pop tunes.

The changes come notonly from Mitchell , butalso from the musiciansshe uses as her back-upband.

The most obvious fac-

tor in the sound of thisalbum is Jaco Pastorius ,the current WeatherReport bassist , whobegan playing on Mitch-ell' s albums with "Hej-ira."

Pat Metheny, gener-ously billed as leadguitarist , plays beauti-fully behind Mitchell.He is especially good on"Amelia " and "FurrySings the Blues."

Since most Mitchellsongs have generousrhythm and sparse leadguitar parts , Methenydoes not get heard asmuch as he deserves.

Lyle Mays , thekeyboardist in Pat

Metheny s group, andDon Alias , a formerWeather Report percus-sionist , fill out this ex-cellent band.

There is also somesquawking through mostof the album that is pas-sed off as saxophone andattributed to MichaelBrecker.

The Persuasions , an acappella group, provideMitchell with back-up.

Even wi th thosedamnab le scratches ,pops and clicks includedin the price of almostevery Elektra /Asylumpressing I know of ,"Shadows and Light" iswonderful.

Exhibit goes beyond straight printBy Gary L. Presley

The Lantern

His photographs look asif they have been painted ,embossed and riddled withtiny holes.

They look that way be-cause that is what he ,Luciano Franchi de AlfaroIII , has done to them.

"My nature is experi-mental ," de Alfaro says.

He is the first in a seriesof five artists who will pre-sent exhibits in the SilverImage Gallery this quarter.

The theme of the photo-graphy series is "Beyondthe Straight Print."

De Alfaro , an artist in re-sidence in Chicago , haswithout a doubt extendedthe meaning of "photo-grapher " to "one who usesphotographs to make pic-

tures."De Alfaro achieves

bright , dull and slightlyunexpected colorations inhis photographic prints by"painting" them.

The painting is done en-tirely with photochemi-cals. Colors in his printsrange from earthy brownsto bright pinks. With someprints it takes de Alfaro upto 60 hours to see the re-sults of his work.

De Alfaro holds degreesin sculpture and fine arts.He has been in photo-graphy for about five years.

Besides painting hisprints , de Alfaro uses pinsto poke holes in them. Aviewer might expectphotographs that appear tohave been fired at withbuckshot. But the reasonfor the pinholes is to give

the photographs texture ,whether accenting thecurves of a woman 's backera man 's legs.

De Alfar o says thepinholes have the same ef-fect a lace curtain in frontof a photograph would.

These textures were veryappealing to one viewer inthe gallery. Cindy Willett , asophomore from Columbusmajoring in photography,said she had "never seenthings like this before."

De Alfar o destroysprints , Willett said , but he"destroys prints in a beaut-iful way."

De Alfaro takes chanceswith the subjects he photo-

graphs as well as hismethods. He chose malenudes as subjects becauseartistically they are "verytaboo" and difficult to dealwith.

De Alfaro says this taboomakes it challenging andforces him into "taking adefini te stand" in hisworks.

All of his displayedphotographs have a humanform as the subject , themajority are male nudes.

De Alfaro 's photographswill be on display in Has-kett Hall' s Silver ImageGallery, weekdays from 8a.m. through 5 p.m. untilNov. 7.

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