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March 27, 1977 - Image 7

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Michigan Daily, 1977-03-27
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March 27, M17 March 27, I W7




events and entertainment
week of Mar. 27-Apr'. 2.





Consisani ib the rading svs/em
tfudents have been indoctrinatd in, the
films hae been as:s.iud approfriae let-
ter nrades ranain- from A+ to E.
sund aV
And Now My Love - (Cinema 11, Aud.
A, 7 & 9) - Claude Leouch, who'scored
with the romantic A Man and A Woman,
directed this airborne love story con-
cerning an ex-con and a bored, rich.
Up the River and Judge Priest - (Ann
Arbor Film Co-opt MLB 4 7 & 9 respec-
tively) - Yet another John Ford douje
bill from the 1930's. Up the River, a 1930
release, features Spencer Tracy's film
debut in a comedy about two convicts
(the other played by Hnimphrey Bogart)
and their unique way of handling the
prison blues. Will Rogers excels in a
tragicomic portraval of a Kentucky
judge in Ford's Judge Priest, a funny
and stirrina film that was later reworked
into Ford's The Sun Shines Bright, which
was screened last Sunday.
Early Spring - (Cinema Guild, Arch.
Aud. 7 & 9) - A 1956 Japanese film
about the hopes and desperation of a
white collar worker. Subtitled. B.
Immoral Tales - (Mediatrics, Nat.
Sci 7. 8:30, 10) - A slick, soft core
pornorama of the Victorian era, laden
with elenentarv symbolism and se' f-con-
sciously arty cinematography.
Anchor Inn - M'iggsy $2 cover.
Ark Coffee House - Frank Wakefield
(mandolin). $3.
Blue Froge - Sam Sanders & Visions,
$2 cover $1.50 for students.
Casa Nova - John Brown & George
Mallory. no cover.
Del Rio - Free jazz in the afternoon.
Mr. Flood's Party - Dick Siegel, no
Second Chance - Masquerade (rock),
pitcher night, $1.50 cover, 1 for students.
Major Events - Rufus featuring Cha-
ka Khan, also.,Donald Byrd & the Black-
byrds, Crisler Arena, 8 p.m., reserved
seats $7 and $6.
Second Michigan Conference on Music
Theory - Cady Music Room, Stearns
Bldg., 10 a.m. to 1 p.m.
Degree Recital - Roderick Bieber, vio-
lin: Recital Hall, 2 p.m.
Trombone Students Recital--Cady Mu-
sic Room, Stearns Bldg.
University of Michigan Wind Ensemble
and Symphony Band - H. Robert Rey-
nolds, conductor: Hill Aud., 3 p.m.
Degree Recital - Teresa Acevedo, pi-
ano: Recital Hall 4 p.m.
Degree Recital - David DeVoll, trom-
bone: Recital Hall. 6 p.m.
Opera- Mozart's Cosi Fan Tutte; Gus-
tav Meier, conductor, Ralph Hderbert,
stage director: Mendelssohn Theatre, all
seats reserved, $4.50, 8 p.m.
Degree Recital - Mark Wilson, double
bass: Recital Hall, 8 p~m.
Horn Students Recital - Cady Music
Room, Stearns Bldg., 8 p.m.
Ikiru - (Human Development Center,
MLB 3, 8 only) - In a recent interna-
tional film critics poll, this film was vot-
ed one of the all-time top 20. The film
details the efforts of a terminally ill man
to find meaning in his life, conveyed in a
beautiful and artistic manner that high-
lights the notion that it is death which
gives life its meaning
Ann Arbor Inn - Shimmer, no cover.
Blind Pig -- Boogie Woogie Red, $1
Blue Frogge - Sam Sanders & Vis-
ions, $2 cover, $1.50 for students.

Casa Nova - John Brown & George
Malhwy, no cover.
Mr. Flood's Party - Fred Small, no
Second Chance - Lighnin' (rock), te-
quila night, $1.50 cover, $1 for students.
Degree Recital - John Murphy, DMA
piano: Recital Hall, 8 p.m.
tues day
A Touch of Zen - (Ann Arbor Film Co-
op, Aud. A. 7 and 9) The ultimate Kung-
Fu movie, making its Ann Arbor pre-
Hearts and Minds - (Cinema Guild,
Arch. Aud. 7 and 9:05) FREE. A must-
see documentary, a searing portrait of
the U.S. involvement in the Vietnam con-
Anchor Inn - Lightnin' (rock), quarter
Ann Arbor Inn - Shimmer, no cover.
Blue Frogge - Sam Sanders & Visions,
$2 cover, $1.50 for students.
Casa Nova - John Brown & George
Mallory, no cover.
Mr. Flood's Party - Stu Zonder and
Steve Sofferin, no cover.
Second Chance - Flipper, women's
night, $1.50 cover, $1 for students.
Robert Altman Film Festival - Molly
Haskell, Village Voice film critic, 7:30,
Rackham Aud., $1.25.
Mahler's "Symphony No. 8", Thomas
Hilbish, cond., Hill Aud., 8 p.m.; tickets
$3, $1.50 for students, available at the
Music School and Hill And. box office.
Degree Recital - David Phillips, DMA
piano: Recital Hall, 8 p.m.
Early Documentaries-(Cinema Guild,
Arch. Aud. 7 and 9)-The first program,
at 7, offers European documentaries, in-
cluding the pioneer films of Lumiere,
Vertov's Man With A Movie Camera, a
forerunner of cinema verite, French
painter Fernand Leger's Ballet Mechani-
que, an amusing and subliminally sexual
experimental film employing common
household objects and machinery in mul-
tiple exposures and wild close-ups, H20,
an abstract film about ,water, and the
English propagandist film, Night Mail.
At 9. American documentaries, including
The River, whose classic form has been
imitated in countless, boring elementary
school "educational" films and a portrait
of photographer Edward Weston called
The Photographer. B
Zardoz - (Ann Arbor Film Co-op, Aud.
A. 7 only) - A flawless and fascinating
sci-fi film, distinguished by lush cinema-
tography, inventive special effects, dra-
matic intensity and stand-out perform-
ances by Sean Connery and Charlotte
Raupling. A plus.
Night Moves - (Ann Arbor Film Co-op,
Aud. A. 9 only) - An adult detective mo-
vie about the parallel search for a miss-
ing girl and a personal identity, featuring
an unparalleled performance by Gene
Hackman. A minus.
Anchor Inn - Lightnin', (rock), quar-
ter night.
Ann Arbor Inn - Shimmer, no cover.
Ark Coffee House - Amateur Night,
Blind Pig - Danny Spencer and the
Shock Patrol (jazz), $1 cover.
Blue Frogge- Sam Sanders & George
Mallory; no cover.
Mr. Flood's Party - Satchel Paige, $1
Second Chance - Flipper, $1.50 cover,
soc for student.s

PTP - "Bingo", a play: Trueblood
Theatre, 8 p.m., $2.
Degree Recital - Joel Dulyea, tenor:
Recital Hall, 8 p.m.
Student Recital - Douglas Walter and
Phil Thompson, cond.: Cady Music
Room, Room, Stearns Idg., 8 p.m
Hearts and Minds - (Ann Arbor Film
Co-op, And. A. 7 and 9) -- See Tuesday's
The Women - (Cinema Guild, Arch.
Aud. 7 and 9) - A free-for-all catfight
amongst the upper crust of the cocktail
Love and Death - (PBC Films, Nat.
Sci. 7 and 9) - Woody Allen meets the
Russian novel, and the result is a polish-
ed, amusing hyperbole of his zany, neu-
rotic technique. Bplus
Anchor Inn - Jacobs Ladder, quarter
ni ht.
Ann Arbor Inn - Shimmer, no cover.
Ark Coffee House - Dale Miller, $1.50.
Casa Nova - John Brown and George
Mallory, no cover.
Mr. Flood's Party - Satchel Paige, $1
Second Chance - Flipper, $1.50 cover,
$1 for students, dorm and frat members
Musket - "Music Man", a play: Pow-
er Center, 8 p.m., $3.50, $4.00, and $4.50.
PTP - "Bingo": Trueblood Theatre, 8
p.m., $2.
Collegiumn Musicum - Edward Par-
mentier, director: Italian vocal and in-
strumental music of the 17th Century:
Rackham Aud., 8 p.m.
University of Michigan Concert Band-
Allan McMurray, cond.: Hill Aud. 8 p.m.
Degree Recital - Elizabeth Stewart,
double bass: Recital Hall, 8 p.m.
Degree Recital - Loretta Fensterma-
cher, piano accompanying: Cady Music
Room, Stearns Bldg;, 8 p.m.
And Now For Something Completely
Different-(Ann Arbor Film Co-op, MLB
4, 7, 8:45, and 10:30)-Who could resist
these English jerks cutting-up in a full-
length motion picture? I could, and you
should, although Eric Idle is an appeal-
ing little loony. D plus
Monterey Pop - (Cinema Guild, Arch.
Aud. ?, 8:30 & 10) - A blast from the
aao-drenched past with the late Jimi and
Panis starring. Go bombed. A
Thieves Like Us - (Cinema II, Aud.
A, 7 and 9:15) - Shelley Duvall and
Keith Carradine star in Robert Altman's
affectionate reworking of They Live By
Night, which weaves a love story and
a crime drama into a seamless study of
the beautiful, but bygone 1930's.
The Adventures of Sherlock Holmes'
Smarter Brother - (Couzens Cafe, 8 &
10) - A ridiculous film with an all-star
cast of such geeks as Gene Wilder, Marty
Feldman and Madeline Kahn, who should
wait patiently for a casting call from Pe-
ter Bogdonavich. C minus
Eiger Sanction - (Mediatrics, Nat. Sci.
7:30 & 9:45) - Clint Eastwood at his best
as a mountain climbing political hit-man
in a suspenseful, action-packed thriller. A
Anchor Inn - Jacobs Ladder, $2 cover.
Ann Arbor Inn - Shimmer, no cover.
Ark Coffee House - Original Sloth
Band, $3.
Blind Pig - Dave Workman Blues
Band, $1 cover.
Casa Nova - John Brown and George
Mallory, no cover.
Golden Falcon -George Overstreet &
Friends (jazz), $1.

Mr. Flood's Party - Satchel Paige, $1.
Pretzel Bell - RFD Boys (bluegrass),
Second Chance - Flipper, $2.50 cover,
$2 for students.
Major Events - Harry Chapin: Hill
Aud., 8 p.m., $6.50, $6.00, $5.50 and $4.50.
PTP - "Bingo",: Trueblood Theatre,
8 p.m., $2.
Musket - "Music Man": Power Cen-
ter, 8 p.m., $3.50, $4.00, and $4.50.
Lecture Demonstration - Louis Stout,
French horn; "The I-orn: From the For-
est to the Concert Hall": Rackham Ad.,
8 Pm
Degree Recital - Deborah Little, vio-
loncello: Recital Hall, 8 p.m.
Duck Soup and Animal Crackers -
(Cinema Guild, Arch. Aud. Soup at 8:30,
Crackers at 7 & 10) - An obvious feast
for Marx Brothers fans. plus
Stay Hungry = (Ann Arbor Film Co-op,
MLB 3, 7 & 9) - Jeff Bridges pumping
iron with Mr. Universe,- Arnold Schwarz-
enegger, under the stern direction of
anti-hero specialist Bob Rafelson, who
put Jack Nicholson through his paces in
Five Easy Pieces and King of Marvin
Gardens. Sally Field, a sensous ex-Gid-
get, sizzles in her long-awaited acting
comeback. a minus
King of Hearts - (Ann Arbor Film Co-
op, MLB 4, 7 & 9) - Is there a soul left
alive who hasn't seen. this film? You'll
never catch Alan Bates in a more charm-
ing and sympathetic role. A
The Bride Wore Black - (Cinema if,
Aud. A, 7 & 9) - Truffaut's homage to
The Graduate - (Mediatrics, Nat. Sci.
7:30 & 9:30) - Fine performances by
Dustin Hoffman, Katharine Ross and Ann
Bancroft save this classic "new genera-
tion" film from becoming too ponderous.
Anchor Inn - Jacobs Ladder, $2 cover.
Ann Arbor Inn - Shimmer, no cover.
Ark Coffee House - Original Sloth
Band, $.
Blind Pig - Dave Workman Blues
Band, $1.
Casa Nova - John Brown and George
Mallory, no cover.
Golden Falcon - George Overstreet &
Friends (jazz), $1.
Mr. Flood's Party-Satchel Paige, $1.
Pretzel Bell - RFD Boys (bluegrass),
-2Second Chance - Flipper, $2.50 cover,
$2 for students.
PTP - "Bingo": Trueblood Theatre,
8 p.m., $2.
Musket - "Music Man": Power Cen-
ter, 8 p.m., $3.50, $4.00 and $4.50.
Degree Recital - Heather Blackie
clarinet: Recital Hall, 4 p.m.
Degree Recital - Frederick Weldy, pi-
ano: Recital Hall, 8 p.m.
Degree Recital - Brandon Cooper,
trumpet: Recital Hall, 6 p.m.
University of Michigan Men's Glee
Club - Leonard Johnson, cond.;. music
by Purcell, Wagner, Bruckner, Ives, Pou-
lenc, Romberg, rel, and others: Hill Aud.,,
8 p.m. Reserved seats, $4 and $3, general
admission, $2, available at Hill Aud. bo
University of Michigan Wind Ensemble
- H. Roberts Reynolds, cond.: Rackham
And., 8 p.m.
Degree Recital - Brenda Kee, DMA
piaio:: Recital Hall, 8 p.m.
Degree Recital - Michael Jordan,
DMA baritone: Cady Music Room,
Stearns Bldg., 8 p.m.
Happenings filn reviews are written
by David B. Keeps. Events and Bars are
compiled 'by Jim Simson.

OVER THE YEARS, jazz in America has taken
many different forms, served many different
functions. It has always been a music of tre-
mendous growth and rapid change and there
have always been men w h o s e creativity has
given direction to that change. Anthony Brax-
ton, who lectured and performed in Ann Arbor
last weekend, is one of these men.
Braxton's ideological approach to his music
is one that is based on the works of a variety of
composers and musicians: from Charlie Parker
and John Coltrane to Antoine Webern and Igor
Stravinsky. He is a member of the Association
for the Advancement of C r e a t i v e Musicians
(AACM). In his lecture last weekend he talked
about these influences as well as tracing the
roots of his music in terms of what he describes
as, "the black aesthetic."
To understand Braxton's creations one must
trace the historical progression of jazz as it re-
lates to the creative improvisor. Braxton's own
account goes like this:
"Before the work of Charlie Parker (one of
the innovators of bebop) creative music in the
black aesthetic-largely swing-had been viewed
ps functional music having to do with what I
call the bi-ational principle.
"The bi-ational principle consists of a func-
tional form and also a creative, i.e. music that
one can dance to as well as music that has a
creative thrust."
In the post World War II years, the predomi-
nantly functional aspects of swing music gave
way to more creative forms. "Parker expanded
this music. The transitional cycle dictated that
bebop had to emerge, because it was a com-
ment on the social asereesions of black people,
i.e. their mie'ration from the South to the North
and the fact that blacks were beginning to make
Pa?! d Shahiro is a freqiten 'ontrdbft/or tIr the Sunday

Jazz redefines
the Musical
inroads into American culture. What we call
bebop has to do with the solidification of a crea-
tive thrust which could take into account the
changing meta-reality of creative music as it
relates to the black aesthetic," Braxton explains.
WITH THE EMERGENCE of such musicians as
John Coltrane, Ornette Coleman and Albert
Ayler, another re-evaluation of the structure of
jazz took place. Braxton sees the progression
from Parker to Ayler as a spiritual-emotional
development as compared to W e s t e r n art--
music's concrete intellectual developments.
Braxton and his co-workers at AACM have
proven themselves to be a positive extension of
their jazz and predecessors. They came together,
as Braxton describes, "because we had to deal
with the fact that if we wanted to continue the
thrust of Coltrane, Ayler etc., and if we did not
come together we would probably die-after all,
we were starving together.'-
Braxton has contributed to growth in jazz in
a number of ways. First, he has expanded the
instrumentation of the music (he plays a sa"-
pranino saxophone, contrabass sax (6 feet tall
and 95 lbs.), contrabass clarinet, bass clarinet,
as well as flute and alto sax). Second, he has
expanded the function of the composition in
terms of its "language." For example, a sentence
is constructed in a certain way and so is a
musical composition. Braxton's work is expand-
ing the possibilities of musical freedom while
still containing a definite form and structure
for his players to work from. In a sense, his

The innovat,

Revolution in notation

W+ZI y




. i



. -

- -

innovations might be ar
veloping new forms in
importantly, Braxton an
have begun to re-disco
"time zone" of jazz, fr
Ellington through peopl
M u s i c 1976," Braxt
from what might be I
swing," to parade music
sions for the creative ir
the importance of imi
"affirms the moment of
or isn't." He goes on to s
is the celebration of ac
sense of the word." He s
with this as "having to d
what the principle
means, what creativity
time zones from Louis Ax
Ayler junction, we see
change in each state of
see liberation in each p
principle will expand. B
cat like Ayler, he's play
he's not even concerned
cerned about tapping th
creativity is supposed t
zone seems to be a time
ing to look at what they'
they're looking at it. A
ago, well, a c major s5
seventh man, if you di
you don't get the gig."
Beyond his innovatior
ton is simply the best re
playing technique is r1
emotion, and through A.
himself with musicians t
porting him in his mus
Braxton. one gets the fi
exploding with possibili
might take you, and his
varying from sheets of sc
Anthony Braxton is a
volved in his work, but
breaking down the com:
of creative music in all f
most basic factor we ai
West is the controlling el
on us and taught to us-
and cannot do. And if wf
that juncture, we're not
no, that's not true."





The diagram above, which Braxton calls, "Cell structure and language design," conveys a
specific set of instructions to his musicians. The numbers within the circles refer to a "lan-
guage chart"-a numbered set of instructions to each individual musician. Through the con-
nection and interaction of these cells of "longuage," the-25 members of Braxton's workshop
create a cohesive piece of music.
For example, the percussionist is given a language chart listing 10 instructions including:
"snare drum roll," "play free," "mallet roll on cymbals," etc. These numbered instructions
appear within the circles. The verticle lines are temporal structures, analogous to bar lines in
standard music notation. The numbers above and below the circles refer to minutes of dura-
tion of the phrase (plus indicating how long to play, minus noting how long to wait) and the
lines connecting the circles refer to the instruments, as well as durations. The last event, No.
3, refers to a sheet of written music which all the musicians play in ensemble on Braxton's cue.
So the diagram intergrates a strict structure and a sense of greative improvisation.


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