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September 01, 1968 - Image 2

Resource type:
The Michigan Daily, 1968-09-01

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Page Two


Sunday, Ser)tember 1 , 1968 1


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Judy Collins

fills Hill a

Nikos Kazantzakis has de-
scribed a certain kind of rain
in Greece. "It is," he writes,
"as if the sky was making love
with the earth."
Thdt is how Judy Collins
sings. The power and thehsubt-
lety. The strength and the in-
She played her annual Mich-
igan concert last night at . Hill
Aud., before the usual first
concert orgy of blind dates, fix-
ups- and first dates. And, al-
though her voice was not the
flawless instrument so familiar
on records, her soul and just
plain womanliness were quite
enough when added, of course,

to the work of the three of the
finest back-up musicians in the
She was backed by a pianist
(not a piano player, but a pia-
nist-there's a difference), a
freak on electric bass, and the
most melodic drummer I've ever
heard (although I could have
done without hearing him twice
via Hill's echo). This-trio alone
was worth the standing ova-
She began with Joni Mitch-
ell's "Both Sides Now," and al-
though the song is certainly one
of the best she does, the ar-
rangement left a little to be de-
sired. That's not the kind of
song you play that loud. The
rest of her tunes, however, with-

out exception, were masterpieces
of arrangement and taste. She
knows what's going on.
She performed songs by near-
ly all of the post-fold-revival-
now - semi - successful - gen-
erally - terribly - talented writ-
ers, Joni Mitchell, Dylan, Far-
ina, Newman, Lennon-McCart-
ney, and Cohen all found ex-
pression in her performance.
She said at the beginning of
the concert that this was the
first college date she had played
this season, having spent most
of the summer on the "leaky
pavillion" circuit. I think she
likes it here.
She alternated between sixs
and 12-string guitar (borrowed,
from David Crosby) and the
piano. As would-be folkies
know, she was originally a con-
cert pianist before switching to
folk and finally graduating to
classical-folk via Joshua Rifkin.
She does not introduce her
songs by name, but prefers to
sort of very gently lower herself
and her audience into each one.
Her wit sparkles effortlessly be-
hind those incredible eyes and
she seems to have a rather great
sense of peace within her.
Most of the audience seemed
to think that her solo work at
the piano was the most moving,
probably because of the beauti-
ful picture it made. Guitar lean-
ing against piano with rose in"
its neck. Flowing robe. Arching
pale-fire fingers.
But Judy Collins' singing
seemed to reach around the
notes rather than join with
them. Several times she notice-
ably had to search for -the note
she wanted, and she was a
shade flat on occasion.
Her best number was near
the beginning and, although I
don't know it's name, it's ab~out
"My father always promised us
we'd live in France. . ." Maybe
you know it. If you do, you're
more alive for it. On this piece
her veal, instrumental, and
emotional segments came to-
gether completely, transcending
the normal performer-audience

nd bill
She did "Polly, Pretty Polly"
with a bluesy piano which was
surprisingly gutsy. But it took
"Hard Lovin' Lover" to bring
the crowd to its feet.
On this tune the drummer
was so pure, so very very right
for the song. Each punctuation,
each nuance was absolutely fit-
ted to the mood and the crea-
tive atmosphere of the song.
Her encore was "Suzanne,"
and hers is the definitive ver-
I think the sun must rise a
good deal of the time in Colo-
rado for Judy Collins.

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APA praised
The Association of Producing
Artists' current program, sched-
uled to come to Ann Arbor for
six weeks beginning Sept. 17, has
received enthusiastic response
from West Coast and Canadian
critics in early season tryouts.
The Los Angeles Times' Cecil
Smith called APA director Ellis
Rabb's modernized Hamlet "a
savage youthful ferment straight
out of a university sit-in or a pro-
test march. It is as contemporary
as the Nehru jacket and turtle-
neck shirt that Marco St. John
wears as the tragic Danish prince.
The stuttering, frustrated voice of
youth crying out against a cor-
rupt world has a stinging rele-
Stephen Porter's staging of a
new Richard Wilbur version of
Moliere's The Misanthrope w a s
applauded at its Canadian debut
as "the mark of accomplishment"
by the Toronto Globe and Mail.

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qualified people to review art,
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Okrent at 764-0562, or send
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