ThP Michian Daily-Saturay. October 27,.1979--Page5
'Kingsof a capela' persuasive
By JOSHUA PECK
The Persuasions are not perfect.
Perhaps that explains their appeal.
There's a rough-hewn, street-sassy
charm to their singing and to their
stage manner that is far more winning '
than the dispassionately slick, well-

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filed choreography of, say, the Tem-
ptations. Often; when the Persuasions
are in the middle of a number, they will
start roaming the stage, each off on his
awn little cloud. A minute later, four of
the quintet will be packed, arms around
ach other's shoulders, into a little
fpotball huddle center stage with lead
singer Jerry Lawson teetering on the
edge in front of them.
: On the other hand, when it comes to
their vocal arrangements, the "Kings
4f A Capella" (translation: no in-
syruments) are as astonishingly tight
4nd smooth as the Radio City Rocket-
tes. When they first sauntered onto the
Power Center stage Friday night, they
burst into a tone-perfect rendition of
'%Return t6 Sender." Whether the
singers all have perfect pitch or they do
it just by years of working together is
imnpossible to judge, but when the group
hit that first note in a splendid, soulful
four-part harmony (Lawson hanging
back for a moment while his comrades
set the accompaniment), only the most
skeptical listeners could have denied
that they were in the presence of some-
tiing wonderfully electric.
Watching many vocal groups, one
would think they plot every move, note,
and word before they even consider
putting it on display. But the Per-

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The hard-working, sweet-singing Persuasions, the "kings of a cappella" by most everybody's acknowledgement,
worked some of their engaging vocal magic on their Power Center audience Thursday evening.

suasions' approach is refreshingly dif-
ferent. For one thing, they really seem
to love each other. Those are no phony
stage smiles the four backup men flash
when Lawson does something par-
ticularly spectacular with the melody.
They are genuinely glad their buddy is
having a good night.
So no one is very surprised when an
occasional Persuasion leaves the stage
for the aisle, or even when he hands the
microphone to an aspiring crooner in
the front row. During the second half of
the show, tenor Joe Russell looked to be
developing a shy romance with two lit-
tle girls over on stage right. Meanwhile,

Lawson is so engrossed in his music
that he starts confessing and testifying
like a sinner at a revival meeting. (All
but one of the group members do in fact
have gospel backgrounds - and they
have probably not changed their
singing styles all that much.)
The second half of the show opened
with Jay Otis Washington, who doesn't
really have the vocal power for the job,
singing lead for three songs. Evidently,
Lawson's voice was hurting. But the
other singers who took center stage,
"Tubo" Rhoad and especially Russell,
did beautifully. Russell's gruff manner
is delightfully reminiscent of the late

Louis Armstrong's in his number "So
I'm In Love."
Other highlights were the
autobiographically nostalgic song
about Brooklyn, the surprising
emergence of "My Yiddishe Momma"
out of a soul tune, the energetic "Get A
Job" and overall, Jimmy Hayes' fan-
tastically deep, rich bass. The capper
was Lawson's admonition to "sit back
and listen to this shit" before breaking
into a "By The Time I Get to Phoenix"
that would have had Glenn Campbell
shaking with envy.
Finally, compliments to the back-up
band. Not a clinker was heard.


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By DAN El
James Galway,
appear with I So
his second AnnA
Hill Auditorium
Galway explaine
had canceled it
tour, a.nd so rathe
orchestral maste
friends presented
ber music. Accon
flautist were harp
violist Milton Tho
The evening sta
piece, a Teleman
three. good musi
new piece, for th
wais especially pi
with both intonat
his right and left h
THOMAS BEG
by his interpretat
Bach's Chorale P
by viola and har
technically impre
musical and his to
Galway's per
please audiences
play up to his cap
case in his playin
transcribed for
playing could not1
somehow music.
unmoving.

Galway beam
[IRENKRANTZ The turning point of the evening came
who was scheduled to in the next piece, a harp solo attributed
listi di Zagreb, made to Mozart. A perfect foil to Galway's
Arbor appearance at suave stage presence, Robles could not
Thursday evening. seem to get comfortable before star-
d that the orchestra ting: she began to play only after much
s American concert fidgeting. As soon as her hands touched
er than an evening of the harp, however, any sense of
rworks, he and two discomfort was expelled. Her playing
1an evening of chain- flowed smoothly and beautifully,
mpanying the master leaving the audience breathless at its
ist Marisa Robles and completion.
mas. GALWAY SEEMED to respond to
arted slowly. The first Robles' fine playing. His playing 'of
nn trio, sounded as if C.P.E. Bach's Sonata in A minor for
cians were seeing a solo flute demonstrated his ability to
e first tirne.'Thomas give a performance of real intensity.
nor, having problems His breath control in the closing bars of
tion and coordinating the slow movement enabled him to
hands. create a calm, hushed feeling which
AN to redeem himself pervaded the air and seemed to slow
tion of the next piece, down time.
'relude No. 40 played It was unfortunate that this
rp. Although still not magnificent silence was' broken by a
ssive, his playing was large outburst of coughing which did
ne rich. not stop until Galway had already
sonality and charm begun the last movement.
even if he does not The first half of the program con-
abilities. This was the cluqed with a trio by Antonio Vivaldi.
g of two Mozart arias The rapport and polish which were
flute. Although his lacking in the opening trio shined here.
be flawed technically, Ironically, Thomas, who was the
ally the pieces were weakest link in the Telemann, was truly
exceptional with the Vivaldi. Perhaps

s in trio
he just needed time to warm up,
here he provided excitement
rhythmic pulse which sparked the o
two players and ultimately produce
exhilarating performance.
After the intermission, the progr
continued with an assortment of tri
duets, and solo playing.- Each per
mer, at some 'point during the conc
spoke to the audience and revealed
only information about the music,


setting
for also a warm personality. The longer the
and concert went on, the more intimate the
ther audience became with the musicians.
d an The concert ended with two playful en-
cores which were played with spirit and
ram a sense of delight by Galway. As the
ios, performers left the stage for the last
for- time, one felt as if friends who had
ert, stopped by for the evening were now
not going home. I, for one, look forward to
but their next visit.

"

1 ARO
5th Avenue of Lib St. 761-9700
FormerlyFifth forumntheater
MONTY PYTHON.S
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OF BRIAN
Fri & Mon 6:30, 8:20, 10:10
Fri & Mon Adults $2.50 til
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sat& Sunl2:50,2:O4:3O, '
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Haskell lectures
Noted film critic Molly Haskell
spoke on campus Thursday
evening in conjunction with
Cinema II's woman's film series.
Addressing an audience in the
Rackham amphitheater, Haskell
blasted Hollywood's traditional
conception of women, and the
way "buddy-buddy" films (such
"s Butch Cassidy and the Sundan-
ce Kid) of recent times have vir-
tually ignored women.
An in-depth look at Haskell's
talk will appear on tomorrow's
Arts Page.

Haskell

The Ann Arbor Film CooperstMe Presents at MLB: $1.50
Saturday, October 27
THE LITTLE SHOP OF HORRORS
(Roger Corman, 1960) 7 only-MLB 4
Long considered a master of exploitation film and the horror film, Corman has
become a darling of the critics recently. Little Shop of Horros is an example of
low-budget horror at its best. The plot concerns an enterprising young man
named Seymour who develops menacing, bloodthirsty type of hybrid plant in
an effort to impress his girlfriend, Audrey. With JACK NICHOLSON in a brief
but dramatic role as a painloving dentist's patient.
THE MASQUE OF THE RED DEATH
(Roger Corman, 1964) 8:40 only-MLB 4
During the BIck Plague, Prince Prospero (VINCENT PRICE) tries to secure his
castle from the outside world and the victims of pestilence. He entertains a
party of select guests who live it up in bcaronial splendor until an unvited guest
arrives--The Messenger of the Red Death! Nicolas Roeg photographed this
adaptation of Poe's tale in sumptuous colors, with his use of red foreshadowing
its appearance in his own Don't look Now.
NIGHT OF THE LIVING DEAD
(George Romero, 1968) 10:20 only-MLB 4
The father of Romero's gory sequel, Dawn of the Dead, this film tells the story
of a group of people trapped in a farmhouse surrounded by radioactive ghouls
who have come out of their graves murdering, mutilating and eating raw