The Michigan Daily-Tuesday, November 8, 1977-Page 7 Strings sound By CINDY RHODES and DAVID VICTOR T HE APPEARANCE of the Con- cord String Quartet last Sunday at Rackham Hall marked a high pdint in the University Musical Soci-_ ety's Chamber Arts Series. Although somewhat hurt by a questionable program selection, it is very difficult to find fault with any of the music- ians. The opening of Beethoven's String Quartet in B-flat major immediately demonstrated the delicacy of Nor- man Fischer's musicianship. The Michigan-born cellist was without hesitation the finest musician among the quartet's extremely tal- ented members. The high caliber of first violinist Mark Sokol was not as evident in the Allegro con brio as it would prove to be later. Somehwat harsh even for Beethoven, Sokol still recovered himself by the end of the movement. The fine execution of a countering line against the viola in the next movement proved more exemplary of:Sokol's performance. The superb balance of the quartet was apparent in the playful banter weaving from part to part in the Scherzo. Building from a heavy melody to a bouncing line in the final movement, the quartet revealed its flexibility. WHILE THE Concord String Quartet is noted for performing and commissioning new works, the choice: of Ben Johnston's Cross- ings for String Quarter was a selec- tion best left unchosen. The musicians were not at fault and per- formed with degree of sensitivity undeserved by the composition., Perhaps the composition's high point came in the second movement, The Silence. This."movement" con- sisted of a frozen silence of two minutes broken only by the coughing of the audience while the musicians sat like expressionless statues. THE FINAL MOVEMENT of the composition, Ascent, was little more than a chaotic pastiche of unlikely elements. The movement opened on what sounded close to a strong imitation of an old Scottish bagpipe tune. The musicianship of the quartet was able to shine once more in the afternoon's final selection, Schubert's String Quartet No. 15. Opening the first movement with a perfectly performed cello solo, the movement ended on the rising vigor of the first violin. The Andante play- ed both cello and first violin off one another and then moved into another brilliant cello solo by the mellifluous Fischer. The scherzo opened with a matte- matical exactness nearly falling into dry precision. However, the piece progressed towards another superb superb cello solo performed with such a sensitive realization of personal ex- pression that, upon its resumption, the entire nature of the theme was filled with warmth giving a sense of accurate intricacy rather than cold precision. The final movement ser- ved as a showcase for Sokol, dem- onstrating a musical forcefulness that infused the others without over- powering them. The University Musical Society Rackham Auditorium The Concord String Quartet Nov. 6, 1977 Beethoven .....string Quarter in B-flat major. Op. 1s Ben Johnston...... Crossings for String Quartet Schubert ..... String Quarter No. 15in G major, op. 161 Mark Sokol, ist violin; Andrew Jennings, 2nd violin; John Kochanowski, viola; Norman Fish- er, cello. Throughout the afternoon's con- cert, the quartet shone. Fischer's virtuosity, in particular, was out- standing, in a group of excellent musicians. We only wish that they had not interrupted the flow from the Beethoven piece to the Schubert with the Johnston selection. Still the quartet provided an afternoon of ex- cellent musicianship. Benson excites EMU By KEITH TOSOLT G EORGE BENSON reinforced his, position as the premier jazz guitarist of the current scene Satur- day night at E.M.U.'s Bowen. Field- house. Benson's guitar playing is truly the showcase of his live performances. The octaves and runs which com- prise his technique are rooted in the traditional jazz idiom of Wes Mont- gomery. This comparison, however, is not intended to accuse Benson of stealing another guitarist's licks and inspiration. It merely points out that Benson has taken the groundwork of improvisational jazz guitar laid down by Montgomery, and is currently expanding it to a new audience. BENSON'S BACKING group, com- prised of Ronnie Foster on electric piano and mini-moog, Jorge Dalto on clarinet and acoustic piano, Stanley Banks on bass, and drummer Harvey Mason, who appeared sans leader and played a tune titled "Loving You" with Foster on lead vocals. George Benson and his hollow- bodied Ibanez jazz guitar joined the. musicians and broke into "So This Is Love?" off of his very successful a1- bum Breezin'. He returned to this album throughout the night, playing all but one selection. George and the band were very tight and their sound was actually studio-like. But there was also an element of improvisation apparent in every song they played in both guitar and vocals. THOUGH HE IS recognized pri- marily as a guitarist, Benson is also a fine interpretive vocalist, and jazz adaptations and arrangements of other songwriters' compositions comprised a large portion of his rep- ertoire. He sang War's "The World Is a Ghetto" and Quincy Jones' "Every- thing Must Change" from his album "In Flight" and "Golden Boy", a Nat King Cole classic. In addition to "This Masquerade" his single off of "Breezin'," Benson played another Leon Russell song titled "Lady Blue." As part of his encore, Benson pre- miered a version of an old R&B tune from his newly recorded album called Weekend in L.A. to be released in time for the holidays. The song he chose to rework was "On Broadway" a hit for the Drifters back in 1964. Benson's version adds verve to the song. The back-up musi- cians pound out the chords while he sings the lyrics in an emotion- filled voice. Benson has a penchant for hum- ming along In harmony with the notes he plays on the guitar, as evidenced in "This Masquerade". His be-bop type phrasing was kept to a minimum at this show as he decided to concentrate strictly on improvised guitar. WHEN HE IS working out his im- provisational ideas, Benson's true jazz genius shows through. It can be argued that some fusion guitarists, like John McLaughlin, are faster, but none work speed in with melodic structure as well as Benson does. Benson also strives for complete ori- ginaflty as he improvises. At one point he was working through a very pleasant free form piece when, after finishing a scale, he stood for 'a minute, smiled and rubbed his brow thinking what to play next. This shows Benson's very conscious atti- tude not to repeat himself in his im- provisation, which he rarely did. Though his music is not the rock-jazz fusion of Beck and DiMe- ola; there seems to be a fusion of jazz and pop working in Benson's studio material. This creates an aesthetic problem with Benson's jazz as it appears commercialized in the eyes of critics and jazz purists. But when any artist gains an enormous amount of popularity on the strength of one recording, as George Benson did with "Breezin' ", such labeling is bound to occur. Whether he is commercialized or not (and I hold that he is not), George Benson's style of guitar playing is in a traditional form and his talent for, improvisation ranks him as one of the more outstanding creative forces in jazz today. I BUR DAS ULTRATYPE COMPREHENSIVE TYPING SERVICES "let our fingers do the typing" Grophics-illustrators-interpretors Dissertations-Full tine Service Technical and Scientific Manuals Resumes-Compose-Edit Bond Copier Services roz Call: Mon. thru Sat. 9 am to 9 pm 2440 W. STADIUM BLVD. ANN ARBOR, MICH.-995-4223 Zappa roc By PAUL SHAPIRO RANK ZAPPA. The name alone evokes a plethora of images, rong them composer, satirist, and iaster guitarist. A man whose music as covered a spectrum ranging from ck and jazz to classical and electronic one of the few survivors from the ck and roll scene of the mid sixties. e demonstrated to a packed Hill uditorium audience Sunday night the ason why. Zappa circa '77 is pure and adulterated rock and roll, but unlike any of his professional cohorts, his sic is complex and technically orb. He has surrounded himself with rd driving six piece band that plays i and fast, but retains the presence aind that allows for self-mockery d an appreciation for the humor of eir music. At the core of the band is the demonic rry Bozio whose powerful drumming d adept rhythmic work blends per ctly with Zappa's intricate com- itions. Patrick O'Hearn on bass, like zio, has toured with Zappa for over a ar and a half and often keys the numerous transitions of Zappa's music. A new addition is guitarjst Adrian Blue, an excellent craftsman, a singer with a variety of voices, and a comic figure in the Mothers tradition. THE CENTER of attention, Zappa, at 35 is as lewd and raucous as ever. His songs have taken on increasing sexual overtones as personified in such recent pieces as 'Disco Boy', 'Titties and Beer', and 'Bobby Brown Goes Down'. Zappa played a lengthy two and a half hour set that opened with his classic 'Peaches En Regalia', and closed with three of his most popular songs: "Dinah-Moe Humm", "Camarillo Brillo", and "Muffin Man". In between the band played music that for the most part has been composed by Zappa in the last two years. Zappa allows for exten- ded solo work from each of the band members, and they generally perfor- med well. Zappa has played with many dif- ferent musicians since he founded The Mothers Of Inventtion twelve years ago. He often adapts stylistically to a given player's talents and his music is always in the process of growth and change. Daily Photo by ANDY FREEBERGm GET*!IOY! The U-M Men's Glee Club PRESUNTS 1 Viewpoint Lectures presents: Seymour Melman Speaking on, "Conversion from a Military Economy to a Civilian Economy. Thursday, November 10, 4 p.m. Auditorium 3, MLB, free admission Melman holds degrees in economics and engineering and is professor of industrial engineering at Columbia University. John Dean November 16 at Hill Auditorium Tickets on sale now at UAC Ticket Central MUSKET presents Cabaret November 9-12, Lydia Mendelssohn Theater. Tickets available at the Mendelssohn Box Office. Eclipse Jazz presents: Art Ensemble of Chicago in concert Friday, November 11, Saturday, November 12, 8 p.m. and 10:30 p.m. each pight. Michigan League Ballroom $3.50 general admission Tickets available at UAC Ticket Central, Schoolkids Records, both Discount Records in Ann Arbor and E. Lansing and the Afganistan Banana Fruit Stand. AEC Workshop Friday, November 11, 3 p.m. South Quad, West Lounge Lecture and discussion for non-musicians Saturday, November 12, 2 p.m. Trotter House Workshop for Musicians Both workshops are free and open to the public. Mediatrics presents: *odspll An exciting film version of the Broadway musical. Friday, November 11, 7:30 p.m.,9:30 p.m. The Longest Yard Burt Reynolds playsquarterback in a football game between cons and their guards. Hilarious. Saturday, November 12, 7:30 p.m., 9:30 p.m. All films in Nat. Sci. Aud. $1.50 admission. Union Programming Committee presents: Michigan Union White Elephant Sale Saturday, November 12-Tuesday, November 15 11 a.m.-7 p.m., Michigan Union Ballroom Over 5,000 items including: tables, chairs, couches, solidwood doors, light fixtures, marble slabs, pool cues & racks, plate warmers; and much much more. Cash only. Artists & Craftsmen Guild presents: Rose Slivka Speaking on, "The Object of as Poet" Tuesday, November 15, 8:00 p.m. Pendleton Arts Information Center, 2nd floor of Michigan Union. Free admission. Ms. Slivka, editor of (AFTS HORIZON MAGAZINE, brings to a close the "Objects-Insights-Yeats" lecture series co-sponsored by the U-M Theatre Department. Soph Show presents: Applause Winner of 1970 Tony Award for best musical. December 1, 2, & 3. Mendelssohn Theatre. Tickets on sale now at UAC Ticket Central. UAC Ticket Central handles ticket sales for all UAC "THE LIGIIIHER SIDE" THE RBORS with STUDENTS! The peer counselors in assertiveness training at Counseling Services are offering a Free 1 Day Workshop in Assertiveness Training Assertiveness Training is: * Learning to speak up for your rights, feelings, and opinions in a direct and honest manner. " Learning to distinguish between assertiveness, non- assertiveness, and aggression. * Learning how these principles may be applied to your everyday interactions. Join other students in a participation-oriented small Saturday, NOV. 19 atIS4OO pm Hill Aud., 'lix@ Hill box NOV 9 A career in law- without law school. What can you do with only a bachelor's degree? Now there is a way to bridge the gap between an undergraduate education and a challenging, responsible career. The Lawyer's Assistant is able to do work tradi- tionally done by lawyers. Three months of intensive training can give you the skills-the courses are taught by lawyers. You choose one of the seven courses offered-choose the city in which you want to work. Since 1970, The Institute for Paralegal Training has placed more than 2,000 graduates in law firms, banks, and corporations in over 80 cities. If you are a senior of high academic standing and are interested in a career as a Lawyer's Assistant, we'd like to meet you. Contact your placement office for an interview with our representative. We will visit your campus on: THURSDAY, NOVEMBER 17 i' I' ' . ' M e Y H ,1 S1