A t &THE MICHIGAN DAILY rts & Entertainm ent Tuesday, January 18, 1977 Page Five r ! Altma By OWEN GLEIBERMAN and ANDREW KURTZMAN FOR THOSE who thought the Winter Term has nothing better to offer than chemistry labs an frostbite, UAC has prepared a Robert Altman film festival of exciting proportions. The festival fea tures all of Altman's films, including M*A*S*I and Nashville, plus personal appearances by All man, ElFiot Gould and an array of Altman's writ ers; pro eges and critics. Altman. one of today's most original and contra versial directors, first achieved critical and finan cial success with M*A*S*H, his classic anti-wa comedy. A long-time television director, he forme his own production company in 1968 and directe James Caan and Robert Duvall in Countdown. H was fired for having more than one actor talk oa screen simultaneously - a technique many critic. now recognise as one of the most inventive anc naturalis ic facets of modern cinema. This an other innovations have brought him much critica acclaim, but little financial success. Because o this, Altman has had to operate outside the main stream of American film. The festival will be highlighted by the Ann Ar bor appearance of Altman himself. Elliot Gould Joan Tewkesbury and Andrew Sarris, who hav all been connected with Al:man films, will also b giving lectures. Gould has starred in three Altmar 0 estival films (M*A*S*H, The Long Goodbye and Calif nia Split) and made a cameo appearance in Na, d vile. Gould will be discussing the role of the act d in cinema. 1- JOAN TEWKESBURY has written screenpl I for two of Al man's films, Thieves Like Us andt - mtich acclaimed allegory of American life, Na - ville. Tewkesbury will discuss the role oft screen-writer in Altman's films. - Andrew Sarris one of the most renowned fi - critics in the country and currently a professor r cinema at Colombia University, will speak on P. I man's films and their place in American cinen d Also appearing will be Alan Rudolph, a scre4 e writer and assistant director on four of Altm n films. Rudolph, who has recently made his dir s torial debut in the soon-to-be-released Welcome d L.A. wil be appearing with a major sneak prev d of !,is film, open only to students. 1 Other speakers include: Molly Haskell, femin f and film critic, discussing women's roles in cii - ma and Altman's films; Tommy Thompson, I d,1 tion head for Al man's film company, who v - !'isciiss the producer's role in Altman's films; a , Elaine Bradish, an Altman production and busin e consultant. e n FILMS TO BE SHOWN (All films are $1.25 ;a - - ~ - - U nce will be shown at 7 a unless otherwise no films: $12): 1-20-77 That Cold D 1-26-77 M*A*S*H at 2-12-77 McCabe and 2-18-77 Images 3-25-77 The Long G 4-1--77 Thieves Like 4-16-77 California Sp 4-20-77 Buffalo Bill Bull's History Lesson 4-21-77 California S 4-22-77 Buffalo Bill Bull's History Lesson SPEAKERS TO AF Rackham Auditorium otherwise noted. All passes for all. speake 2-17-77 Alan Rudolp Angell A rd A, $3.50) 3-3-77 Andrew Sarri 3-26-7/ Elliot Gould 3-29-77 Molly Haske 4-7-77 Joan Tewkes 4-15--77 Elaine Bra 4-23-77 Robert Altn $3.50, $2.50, $1.50) in te a nd ~Is . p la ll b d From Ba rwayHRampal nd 9 p.m. in Angell Aud. A ed. Season passes for all By JIM STIMSON ONE NEEDN'T be a flautist. y in the Park to appreciate Jean-Pierre d "Brewster McCloud Rampal. His performance is ful- drsMillerM dly satisfying without great. Mrs. Miller knowledge on the listener's part. On the other hand, a flautist- odbye friend of mine was amazed at Us the ease with which Rampal it and Nashville ($1.50) executed diffic6lt passages in and the Indians, or Sitting his Friday night. concert at Rackham Auditorium. It seemed lit and Nashville ($1.50) there was something for every and the Indians, or Sitting classical music fan at this con- cert. SThe show opened with a son- ata in B minor by Handel. For PEAR (Speakers will be in this and the Baroque pieces at 7:30 p.m. for $1.25 unless that followed, harpsichordist seats are reserve. Season John Steele Ritter aided tre- rs: $10): mendously in establishing the' h and Sneak Preview (6:00, neriod mood. Handel's boundless ontirnism was well captured by the duo. ($3.50) THE NEXT piece was a son- ata for solo flute by C.P.E. ury Bach. It was a work of great [ish and Tommy Thompson beauty and Rampal renderedtit tan (Hill Auditorium, tickets . exquisitely. One passage. in the' opening allegro was formed arorind repeated notes, and his chances in embouchure were Pwless. Ritter rejoined Ramnal for co n cert: J.S. Bach's Sonata in E minor. Te harpsichord was particular- ly effective in the andante. whrich featured a serene and ma ted introductory solo. fol- lively lowed by a tense duet, and con- cl,+ded with the return of the in and piano with Gustave Ros- onening theme. The created ten- sels and Wallace Berry. This sion and release would have acted as a transition piece in pleased Bach himself. anticipation of the jazz of Jellyt After intermission R i t t e r Roll Morton. switched to piano, and the duo roque to modern, charms Rackham shifted to modern works. The first was a passionate andl forceful Introduction and Rondo by Kuhlau. Ritter's jarring pi- ano chords were almost a shock after his refined 'harpsichord performance. A SONATA by Jindrich Feldi followed, and it proved a most interesting piece. The first movement was fast, airy, and had a strangely comic quality to it. Rampal ended this movement with a flourish that brought spontaneous chuckles from the audience; for Rampal is a vir- tuoso possessed of wit and hu- mor. Rampal ended the regular pro- gram wiih a sonata by Poulenc. Rampal treated the gracious Ann Arbor audience to not one but three encores. The first was the solo from Gluck's opera Or- pheo and Euridice, a popular piece in classical flute -reper- toire. FOR THE NEXT selection, a sonata by Albeniz, R it t e r switched back 'to harpsichord. His playing had the bouncy Spanish . flair of Scarlatti, and overall the piece was fast and very pretty. Rampal surprised the audi- ence by coming out for a third encore. This final piece was Fritz Kreisler's "Liebesleid", or "Love's Sorrow" This sweet and graceful composition left the audience sataisfied for the time - but I'm sure that when Rampal returns to Ann Arbor February 25, I'll be wishing I'd bought my series tickets in ad- vance again. > here IS a difference!! " MCATS "LSAT *.DAT . GMAT ."CPAT *VAT .GRE . OCAT, eSAT -A- Faculty . NATIONAL MED. & DENT. BOARDS " ECFMG *"FLEX Flexible Programs and Hours Over 38 years of experien'ce and success., Small classes. Voluminous home study materials. Courses that are constantly updated. Centers open days and weekends all year. Complete tape facilities for review of class lessons and for use of supplementary materials. Make-ups for Dizzie Gillespie plays sweetlyd WEEKEND CONC Diz By KEITH TOSOLT S "WHEN YOU BLOW into a' trumpet, you don't know' what's going to come out" states John Birks "Gillespie - otherwise known as Dizzy. The Dizzy Gillespie Quartet was in town last Friday and Satur- day for a series of four con-; certs in the Michigan League Ballroom. "I've met all sorts of trum- pet players in the last 45 years. The ones who attained a levelF of professionalism and created a style, they're the nobility," ' Dizzy said. If anyone knows the nobility of jazz, it's Diz. He has played with many jazz greats such as Cab Calloway, Oscar, Peterson and Charlie Parker., Dizzy was one of the inno- vators of be-bop jazz in the, 1950's. He plays' a trumpet7 with an unswept bell which makesrthe sound "softer and warmer." "A LOT of musicians can get hung up on technique," Dizzy said. But, he adds, technique is "necessary to do what you create." A good trumpet play- er has to know the scales and be able to hegr a note before it is played, he claims. "Sometimes you get some surprises when you play a note. But many, many mis- takes have come ouf beastiful because the rmusician knows what he's doing," Dizzy ex- plains. "Jazz is based on the Afri- cans for rhythm and the Euro- peans for harrnonv, but the background of our music leans toward gospel," Dizzy' says. Gospel was the only tyne of music the slaves were al- lowed to play. "Jazz is a direct evolution of the music in the fields," he adds. By SUSAN BARRY I THE FACULTY of the Musics School presented a character- a istically diverse repertoire in a the fourth of their series of con- certs - ranging from an early Baroque piece to some early jazarrangementsby Jelly Roll Morton - before a receptive audience at Rackham Sunday The concert began with Bach- ofen's Duo Concertante in F Major with Ruth Dean Clark displaying a graceful mastery of the harp. This lively piece ex- plored a range and a versatility' - of sound so rarely presented in such a difficult instrument. The' dynamics and rapid glissandos were skillfully and confidentlyI executed by Clark and resulted in the most beautiful and well- Daily Photo by ANDY FREEBERG received offering of the even- during one of his late night jazz performances last weekend. ing. John Mohler achieved a dis- tinct clarity of tone on the rap- - E JOYA LE.-idly ascending passages on the ERTS ENJOYABLE: clarinet which added a satisfy- ing contribution to the smooth interplay between harp and clar- s ti,- iet. The second piece, Chopin's Sonata in G Minor for cello and strings. presented pianist Jo- D I Z Z Y has no preten- Martin Luther King titled "The seph Gurt with Chopin's charac- sions about his reason for Brother King". Dizzy is of the teristic rolling chords, which touring at the age of 59. "I'm Ba'hai faith and explained 1 Gurt handled with confident trying to work less and get - that he holds the same view of skill. more. I need that money in my non-violence and admires THE MELANCHOLY beauty old age," he says. King greatly. of this piece emerged in the po- Dizzy has picked out a group etic scherzo, in which Jerome of select arrangers and is giv- After a display of solo jazz Jelinek mastered the unusually ing each one a composition to musicianship by both Jones high range in the cello with a be adapted for 100 pieces. le andtBrown, Dizzy finally ask- remarkably smooth resonance. plans to take these arrange- Iyo knowdwatut2me "Do I The melodious largo had such ments around the world and yo know what time it is? "a defineable structure it almost plav with larger orchestras. For his last songs he took the sounded like a contemnorary T H E O T H E R members mike and sang some blues and love sing Its sheer elegance of of the Gillespie Quartet are be-hop to end a very good late form was augmented by a bassist Ben Brown and drum- ght set. graceful blend that achieved the mer Gram Broker. A fine local jazz group, the gracel bleoha a vf the Diz7V started off on congas Benson - Drelles Quintent, ap- concert. for "Barsalona" and later peared before Dizzy's set.! The Chopin was followed by' picked un his born for a mellow "Our music is a mixture of hFinne's Second Sonata for vio- mited solo. The next selection jazz types, from fusion and y ws a very fimnkv tune called modal music to rock and - "The Land of Milk and Hon- sambas", said Tony Peretz, 1214 s. university ey", written after a visit to the group's drummer. They Israel last simmer. plat their original compositions Dizzy also played a song ded- at the Blind Pig every Wednes- icated to the pacificism of Dr. day night Theatre Phone 668-6416 . TONIGHT AT 7 and 9 - Open 6:45 GradCoffeeBreak, CLOCKMAKER -,PHILIPPE NOIRET BERTRAND TAVERNIER fo. rd.Afi '. .4iJLUnJJHUJ- I IProf Jq.Al u J'..I ACU-1 Tournament for MEN and WOMEN BOWLING SAT. JAN. 22 10 a.m. POCKET BILLIARDS SAT. and SUN. Jan. 22-23-1 2 p.m. ANN AICI TILM CC-0r TONIGHT in Auditorium A of Angell Hall THE DEVILS (KEN RUSSELL, 19711 A carefully documinted, historically accurate film relating the political and religious upheaval of 17th-century France and cul- minating in the execution of a worldly priest, unjustly ,accused of sorcery by a group of sexually obsessed nuns, led by their hunchbacked Mother Superior. A highly graphic and explicit work, it is also one of the most original films of the past decade. Rated X. "An incredibly ambitious film, filled with the, energy, passion and imagination that make Ken Russell one of the most impor- tant filmmakers working today."-New York Times. "THE DEVILS Is a masterpiece as consumingly rich and as arrogantly original as the greatest works of art."-Los Angeles Free Press. Oliver Reed, Vanessa Redgrave. MICHIGAN UNION I1 I missed lessons at our centers. 'Write or calf: 1945 Pauline Blvd. Ann Arbor 48103 TEST ERAT 662-3149 SPECIALISTS SINCE 1938 Call Toll Free (outside N.Y. State) 800 - 221-9840 For -n Affiliated Centers in Major U. S. Cities OURS a Q Join uh WEDNESDAY, JAN. 19 when the U-M J "ish community brings you anothir GRAD HAPPY HOUR, Popular Mixed Drinks 50c Cheese and snacks-free Everyone is Welcome 1429 HILL STREET I 0 a Rcl eD a