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February 22, 1977 - Image 5

Resource type:
Michigan Daily, 1977-02-22

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Ars'&Ea er Ol ent
Tuesday, February 22, 1977 Page Five







Ponty l1ures crowd
JEAN-LUC-PONTY is no mother. Bass Player Ralphe Armstrong displayed
his Mahavishnu acquired skill with a certAin
Before a sell-out crowd at the Michigan knack, but sound distortion and equipment
Theatre Saturday night, Ponty displayed a feedback took some deserved credit away
skill and pure excellence on the jazz violin from the Detroiter.
that certainly separates him 'from his work Drummer Steve Smith ended the show
with Frank Zappa and the Mothers. with a five minute drum solo that left the
From the cool luring softness of "Gardens audience applauding for, more.
of Babylon" to the handclapping, free spirit-
ed "New Country (both from his newest al- THROUGHOUT the show, Ponty constantly
bum Imagonary Voyage), Ponty and his band tuned and refined the sound equipment. He
made use of his collection of green, black,
captured the surrendering audience and did red, blue, and wood finished violins, each,
not let go. tuned differently, to create moods of flow-
ing softness and ripping anger that sent the
BEGINNING with the tearing "Trantula" audience to the far reaching spectrum of his
and then going into "Imaginary Voyage," a music
four~part song, the bearded Ponty nodded
approvingly as each, part flowed perfectly 'Much of the preformed music came from
into the other. Aurora and Imaginary Voyage. Ponty com-
bined sets of songs, such as "Question with
Ponty dazzled the audience with an un- no Answer," Fight for Life," and "Wander-
earthly solo piece, "Wandering on the Milky ing on the Milky Way."
Way", using a wah-wah pedal to unlease
echoing, spacey sounds. Ponty played with Elton John on Honky
Chateau, with Frank 2appa on Overnite Sen-
Each member of the band stole a little sation, as well as with John McLaughlin's
of the spotlight at different parts of the two- Macavishnu Orchestra - so e's built up a
hour show. reputation. He was voted the top violinist in
LEAD GUITARIST Daryl Stuermer left the Downbeat s 1975 reader poll.
audience in awe of his superb playing, espe- Last Saturday, nodding and swaying
cially on an accoustic selection from Aurora, slightly, Ponty knew that he and his band
as did the performance of keyboardpianist had it all together for a very appreciative
Allen Zavod. Michigan Theatre audience.

By OWEN GLEIBERMAN ence of Altman's work, partic-1
and ANDREW KURTZMAN ularly Nashville. As in Nash->
ville, Rudolph's film is more
LAST THURSDAY night Ann concerned with people than with,
Arbor film goers 'witness- plot. But unlike Altman, whose1
ed the exceptional debut of Alan characters are left to function
Rudolph, whose film Welcome ! within the environment he cre-
to L.A. was sneak previewed ates, Rudolph presents a moret
in Angell Hall as part of the surgical study of character,
Robert Altman Festival. Ru- delving beyond false exteriors!
dolph himself was on hand for into the characters' emotional
the screening, fielding questions make-ups. .
after the film. In his talk, Rudolph stated "II
Welcome To L.A. is a sensu- don't think it's a bitter vision
ous, melodic film, based on an (of L. A.) It's about people, notE
original jazz suite by Richard a city.We were trying to maket
Baskin. It is a beautiful mood a soap opera. We wanted to;
piece, controlled, wholly consist- show what those characters are7
ent, and visually affecting. Ru- like when the TV set is off."
*~2{ o.nil, l 1tmLI nldII pfuLcge, 1snn - _-_ _ . '

has a penchant for topless vacu-
CARRADINE forms an al-
most mystic attraction to Karen
Hood (Geraldine Chaplin), a lov-
ing but spacey wife who, ne-
glected by her husband Ken
(Harvey Keitel), spends her
days riding around in taxi cabs
and talking to herself. Susan
Moore (Viveca Lindfors) is Bar-
ber's agent who despairs as age
reduces her status in the L.A.
social order. Nona Bruce (Laur-
en Hutton) is a beautiful, avan-
te-garde photographer, and mis-
tress to Carl Barber (Denver
Pyle), Carradine's sixty-ish
crabby father, who attempts toI
'': TII hie nn~c ln['

offering herself to Carradine. Welcome To L.A. is .the manner
RUDOLPH'S L. A. is a city in which the music in integrat-
where the conflict between ed into the rest of the film.
vaguely good intentions and im- Eric Wood (Richard Baskin) is
mediate desires results in con- a recording argist, in the pro-
fusion. In one of the film's most cess of recording Carradine's
brilliant scenes, a weeping Kei- songs. We see Baskin only in
tel, the repentant husband, calls the dark confines of the studio,
his wife at Carradine's house, yet his mellow performances of
begging her to reconsider. Chap- songs such as "City of One
lin gently refuses, but reas- Night Stands" are beautifully
sures him, saying "It's going to evocative of the. film's dark,
be all right. You know I'm com- sensuous mood. In addition, the
ing back." songs serve as a sort of narra-
While Chaplin's character is tive, expressing the characters'
a marvelous and integral part feelings and replacing scenes
of the film, it also illustrates that would narmolly convey plot-
the film's major weakne.ss, a information.
tendency towards a bizarre The film was well-received
i a cmrh nid a xtih '+"Xr a_. om. . ..t

dolph, an Altman protege, ruses
music, image and dialogue to
create a filmic suite, where
each of the characters moves in
and around a central theme of
emotional waywardness.



revisited lacks

Rudolph's formula is a suc-
cess because he concentrates on
characters within an environ-
ment, rather than showing the
godless and self-indulgent me-
tropolis preying upon the mor-
als of bewildered innocents.
HAVING WORKED as a writ-
er and assistant director on sev-
eral of Altman's later films, Ru-1
dolph acknowledges the influ-
are the top winners in the 19th
annual Grammy Awards.
Record of the year - "This
Masquerade," George Tlenson. '
Album of the year - Sengs in
the Key of Life, Stevie Wcnder.
Song of the year - "I Write
the Songs," Bruce Johnston.
Best pop performance.,umle-
Steviee Wonder, "Songs in the
Key of Life."
Best pop performance, feu'ale
- Linda Ronstadt, "Hasten
Down the Wind."
Best new pop artist -- Star-
land Vocal Band.
Best pop performance by a
group - Chicago, "If You Leave
Me Now."
Best rhythm and, blues per-
formance, female '- Natalie
Cole, "Sophisticated Lady."
Best RB performance. male-
Stevie Wonder, "I Wish.
Best R&B performance, group
-Marilyn McCoo and Billy Da-
vis, Jr., "You Don't Have to Be
a Star."
Best jazz vocal performance-
Ella Fitzgerald, "Fitzgerald and

As a result, Welcome To L. A. buvhis son sa lve. eavy-uandedness wnicn strays during Thursday's sneak pre-
is almost devoid of outdoor Love is as the core of Wel- too far from believability. view. Rudolph, answering ques-
scenes. It is a collage of mod- come To L.A., although in the Whereas in Nashville, her char- tions afterward, discussed the
ernistic interiors, beautifully context of the film it is often acterization of a nutty journal- transfer of the distribution
photographed by David Myers. very difficult to define. As Ru- st was far-out enough to be un- 'rights to Welcome To L.A.
Rudolph reduces the open dolph said prior to the screen- derstood as purely satricalher! from United Artist to Lions
spaces and spacious architec- ing, "Romance isn't dead: It's excesses of madness in Wel- Gate Films, Altman's film
ture of L.A. to a series of dark, just gone crazy." come To L.A. often seem con- company. Rudolph himself only
trary to her otherwise brilliant- ?received the news minutes be-
constant state of psychic ten- The film d s w vague, ly acted and very human char- fore the screening began, in a
on precarioushuman relationships. acter call at Altman.
sign. John Considine is about to con-
Welcome To L.A. is the story summate his relationship with Carradine's character is quiet, "UNITED ARTISTS was very
of a young song-writer, Carrol a seemingly willing Sissy Spa- detached, and often enigmatic. good about the whole thing," he
Barbar (Keith Carradine), who cek, when she suddenly de- As Rudolph says, "He wanders said. "They said 'We honest-
s through all these people's lives ly don't know how to promote
has come to L.A. to get. his mands money for her favors.trig ofnd utwyh'tisil'LnsGead'W
songs recorded. He soon finds Harvey Keitel, a brisk and suc- trying to find out why hens this film.' Lions Gate said We
himselm involved in the lives cessful businessman, seems ere.His whle passion is for honestly do."'
of an array of diverse and biz- both driven and inconsiderate his music, but he doesn't face Welcome To L.A. is sched-
are personalities. Ann Goode enough of his wife to have an up to it. It's very obvious what's uled to open in early March. If
(Sally Kellerman), a desperate affair with Sally Kellerman, on- going on here; he's the one who it is well-received, it will repre-
and lonely realtor, is Barber's ly to find that ultimately, he learns. And that's all that's sent a victory for independent
first encounter. Her husband can not bring himself to be un- supposed to happen.", - film production, as well as for
Jack (.John Considine), is an ag- faithful. The opposite is true of One of the greatest merits of Alan Rudolph.
ing and uncertain stud, trying his wife, Geraldine Chaplin, who
to re-assert his manhood with despite her sincere but unre-
Linda Murray (Sissy Spacek), quited declarations of love to
Carradine's housekeeper, who her husband, is finally driven to:

novelty and lovability

DIG IT: Hair was presente
this weekend as a benefit fo
Friendship and man. It wass
ripoff. It'scalled the "America
Tribal Love Rock Musical" bu
those kids I saw on stage wer
neither lovable nor loving. I
fact, they were a pretty smart
alecky, smug lot who though
they could condescend to a
audience for two hours and the
make it all better by inviting u
up on stage to dance at the end
Reconciliations don't come s
Hair was a phenomenal suc
cess on Broadway in 1968, i
large part because nudity an
rock music were novelties or
the Broadway stage then an
because "hippies" were ver
much au courant. The theatr
By R
Concerto competition winne
night in University Philharmon
are at 8 p.m. in Hill Auditorium
The Concerto Competition<
appear as soloists with an orc
chance to hear outstanding pe
dergraduate students of the Sc
STUDENTS began prelimin
performance categories-piano,
brass and percussion, harp. TI
ceeded to final auditions.
Final contestants were judg
about one month ago. Nine we
Tomorrow, February 22, C
versity Philharmonia Orchestr
M4endelssohn violin concerto;I
certo; Daryl Monfils, Glazouno
Kim, Tchaikowsky piano conce
On Friday, the University1
with Gustav Meier conducting
ridge playing the first movem
the second and third movemen
certo; Carlos Chausson, Mozar
violin concerto; Michele Cook

critic for the Times raved about So director' Von Washington 1
d the show and his middle-aged started with a few strikes,
r: contemporaries flocked to get a against him and quickly chalked"
a! good (safe) look at counter-cul- up several more. The cast had'
n ture and naked bodies. a good deal of dead weight and
t ; Unfortunately, Hair was a the script is such that even the ,
e lousy musical then and it's not most talented actors are 'imited{
n any better now. The show 1as in what they can do to help.
- no unified concept, no structure Perhaps a truly charming and1
t and no clear point of view. The innocent cast could make Hairf
n comedy isn't very funny, the a happier show, but in this pro-
m ; lyrics are often nonsense and duction only Rochelle McCrack-t
s the music is unexceptional. lin, David Grier and, especial-c
. Hair's picture of hippie life is ly, Ken Ward had much of those
o superficial and uninsightful. needed qualities.
When it's not being self-indul- The set, designed by Circum-
gent and amateurish, the show ference Production Associates,
in caters in the most obvious, cass was an uninteresting and unat-
d way to what it thinks its Estab- mospheric group of platforms
n lishment audience wants to see. and Washington didn't use them1
dA Frankly, I think Hair has an very creatively. The show is
y unpleasant smell of exploitation supposed to be "free" and all
e and hypocrisy. that, but the stage picture was
unchanging and often cramped.
THE BIGGEST blunder was
the projections. Those spic-and-
span, Kodacolor close-ups of
happy young faces suggested a
suburban high school yearbook,
not the seedy East Village. How
0SALYN KUTNER could Washington have failed to
see how such carefully posed;
pictures worked against the tone
ers will star tomorrow and Friday of spontaneity necessary for the
niaandSymhon cocers. othshow?
ria and Symphony concerts. Both The cast, sensibly, kept their
m, with free admission. clothes on during "Where Do I
offers students the opportunity to Go?" (probably the show's fin-
:hestra. It also offers the public a est song), but Washington up-
hesra.It ls ofersth .pbli astaged them with a film of some
rformances by graduate and un- danes ith d fils me
dancers in body suits doing a
dhool of Music. pseudo-modern dance. If there's
to be no nude scene, fine - but?
ary auditions months ago in seven don't cop-out with body suits!
organ, strings, voice, woodwinds, It's phony.
he winners of these auditions pro- Hair's best bit of comedy - a
sight gag about the Supremes -
was left out; Claude was not giv-
ged by almost 20 faculty members en a crew-cut at the end: songs
re chosen to perform this week. were in the wrong keys for sing-
ers and the sound system was
lark Suttle will conduct the Uni- poor. I did admire Nancy Hall's
4. Performers are: Diane Driggs, costumes, though. They were
iris Kaplan, Prokofiev piano con- the only indication we had, bth-
ov saxophone concerto; Kwi-Hyun er than textual references, that
rto. Hair is, after all, a period piece.
?mnhon Orchestra will perform -


. II " II 1



For Ticket information Call: 764-9238


Soloists will be: Jefferson Eth-
ent and Frederick Weldy playing
nts of a Rachmaninoff piano con-
t aria; David Uudegraff, Sibelius
er, Rachmaninoff piano rhapsody..





As it was Actcd (with great Applause) it 1623





Seems like television has become a major venue, of
late, for selling records. One concert in prime time can
reach more viewers than' a year-long concert tour. Elton
John had a 90-minute' special last February 3. Neil
Diamond had his show last night. Barry Manilow will
perform on March 2, and you'll experience Diana
Ross on March 6. Diamond and Ross both have live
albums to match the shows. Most TV concerts in the
past have been relegated to the 11:30 p.m. time slot,
thus the move into prime time is a landmark.
Los Angeles mayor Tom Bradley recently honored the
Dramatics with a presentation in recognition of their
work with youth in the L.A. area. The group has visited
high schools encouraging students to stay in school and
learn the technical side of " the music industry. THE
DRAMATICS will be struttin' into Hill Auditorium with
the dynamic DENIECE WILLIAMS this Monday, February
28 at 8:00,p.m.
Meanwhile Ann Arbor is girding itself for a big wel-
come to favorites Leo Kottke and Leon Redbone, who,
are in concert, this Sunday, February 27, at 8:00 p.m
... A .. . L . .. . . . A L




.. 1'5





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