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March 04, 1976 - Image 5

Resource type:
Michigan Daily, 1976-03-04

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E N E mus in review Thursday, March 4, 1976 Page Five

Purim displays

jazzy vocal style

By KURT HARJU HER BRAZILIAN background Neville Potter collaborations there are many similarities be- inal songs (as she did on Stor-
makes her all the more fas- and, though they don't actually tween this record and her first ies To Tell), the effect is a lot
WHILE SERVING a 16-month cinating because her English is date back to the period when - the sharp, concise guitar more striking. Open Your Eyes
sentence in a California pri-: flavored with an attention to Floria was a part of Return solos, the synthesized back- is equal to and separate from
son for drug possession, Floria its sound as well as its mean- To Forever, they share the ground, and the distinct touch-' her previous two records but
Purim was chosen as Down ings. Her native Portuguese straight - forward medolic lyr- es by Airto running through- not the breathtakingly differ-
Beat's Number One female gives the listener the treat of ics and uplifhting spirits of out. But fellow Brazilian Her- ent and beautiful masterpiece
singer (for 1974) and managed hearing a foreign language be- that group's work. meto Pascoal, a multi - talent- I'm sure she has in her.
to stay securely in contempor- ing expressed as music per se The title cut and "sometime ed composer, adds a couple of
ary jazz's fast-moving spot- and not as something that ne- Ago" are especially effective, intricate compositions, "Andei BUT THAT doesn't matter
light. Now that she's out of jail cessarily has to be interpreted and Potter's collaboration with (I Walked)" and "Conversa- much so long as Floria has the
and has released her third al- tion," and plays such diverse opportunity to expand and ex-
bum, Open Your Eyes You Can.. . .:.:.... . . ..:..:::-.:::.::.:.,.: instruments as flutes and Seven periment in her own fashion.
Fly (Milestone M-9065), it's ob- Up bottles that give the pro- As producer Orrin Keepnews,
vious the stint did little to stifle 'O'en Your Eyes' . . . shows that Floria is ceedings a fresh new twist. In who does an exceedingly fine
her unique brand of vocal im- addition, superb bassists Ron job in bringing out the mvster-
provisations. rapidly becoming one of the most innovative Carter and Alphonso Johnson ies of Floria's voice, says in the
lend their able technical skills liner notes: "this is Floria's
Though Open Your Eyes musicians working seriously in the jazz field to the full-bodied material. freedom album." Anyone who
harkens back to the free-flow- The only d can make such unassuming
ing, jam-session style of her today. Thesonlbuisappoting asect lyrics as
first solo effort, Butterfly.
r si e es s a.....,..,. writes just one song that is en-
that Floria is rapidly becoming tirely her own, "Ina's Song I'm going to sing about you
tha Flrai ail eoig(Tripto Bhi),"adthatnm
one of the most innovative and to be understood. That is the Floria on "San Francisco Riv- ber to aia, an tat num- I'm going to sing about me
interesting musicians working essence of her whole musical. er" results in one of the most I'm going to sing about every-
seriously in the jazz field to- approach; her voice is its own I moving ballads I've heard. Though that is not at all a?

of Art's
March 7, 8, 9
Sun. 7:30 P.M., Mon. & Tues.
8:30 P.M.-$5. $4, $3. Tues.
Mat. 2 P.M.-Gen. Admission
Reserved Seating
Mail orders to: Ticket Office,
Detroit Institute of Arts, 5200
Woodward, Detroit, MI 48202.
Checks oavable to DETROIT
close self-ad., stamped eno.
Information. 832-2730.

skill on his own


The eight tracks she presents
here are fraught with the wild
gasps and moans, wordless ac-
cents, and passion - filled sing-
ing that only she is the total
master of.

instrument and the noises sheI
can produce wit it are just as WITH GEORGE Duke on
important as the lyrics she electric keyboards, David Am-
sings. aro on guitar, and her hus-
That makes the simple but band Airto on percussion, Flor-
tuneful words she uses on this ia almost duplicates the band
LP easier to accept. Three of she began with on Butterfly
these songs are Chick Corea- Dreams and, subsequently,

when she

it does . show that
composes more orig-

A L DiMEOLA, best known as
the guitarist for the pro-
gressive jazz group Return to
Forever, has followed the lead
of. the other three members of
the band, Lenny White, Stan-
ley Clarke, and Chic Corea, in
releasing a solo album, Land of
the Midnight Sun (Columbia-
PC34074). The result is a gen-
erally satisfying recording, but
one which somehow leaves the'
impression that it could have
been better.
DiMeola uses his album in
the accepted manner for a
group member going out on his
own: to showcase his instru-'
mental skill and his original}
compositions. Unfortunately,
while he is a gifted musician.
and plays brilliantly on every
cut here, his compositions and,
arrangements are not yet of,
the same high quality. As a re-,
sult, while four of the six cuts
are DiMeola compositions, the
most effective music appears
on the cuts written by others.
"SHORT TALES of the Black
Forest," a Chic Corea composi-

tion, (which also features Co-
rea on piano) not only demon-
strates DiMeola's musicianship


Ricky Bill of Ohio State.
led the nation's collegians in'
scoring last season. In 11 foot-
ball games he tallied 150 points.
on 25 touchdowns.

Who wants to be free
ring as true and deep as one
of Dylan's or Mitchell's better
lines has definitely got a gift.
It's our good fortune that Floria
now has the time to folly de-

.. vu vvluv 10 I 110 W 1ly UC
to the fullest extent, but is also velop it and, if she does, Open
the best music Corea has been Craig Penroe of San Diego Your Eyes will probably be
associated with in several I'State gained 2,660 yards on for- just a glimpse of a spectacular
years. The rapport between " ward passes last season. future.
the two musicians is beautiful:
to hear, and results in a gen- uralm
erally brilliant moment. Anoth- 0 1 FAY WRAY and BRUCE CABBOTT in
er high point is DiMeola's adap-
tation for acoustic guitar of J.Pro isin KING KONG
S. Bach's "Sarabande from'
Violin Sonata in B Minor," a Like JAWS, KING KONG captured the imagi-
short solo which makes one By ROB MEACHUM tive unknowns in the industry: guitar work done by Schon. No nation of a Depression-Discouraged Country.
wish that it would go on several So rare these days does the Gregg Rolie on keyboards and sooner than he finishes his slow, The most famous of screen monsters and the
miutes longer, record industry release an al- lead vocals, Ross Valory on easy-going introduction that he most impressive trick photography has rarely
The rest of the album suffers 'bum which goes beyond the base, Aynsley Dunbar on drums explodes into a raging, fiery been better applied.
from a lack of definition - too mass appeal of top-40, that Jour- and other percussion, and Neal barrage of licks that is almost
much emphasis being put on ney's second effort, Look Into Schon on lead guitar. Individu- too good to be true. The pitch FRI.: Hawks' BRINGING UP BABY
"disco" rhythms and riffing. The Future (Columbia X698), ally, they are lackluster-togeth- is high and clean, and the notes
While DiMeola is a fast and comes as a pleasant surprise. er they pack a punch that clear- are picked so fast that only * Cinema Guild is now accepting Applications
spirited player, after ten min- There is rock and roll, and there ly distinguishes them from the after multiple listenings can one for Membership. Inquire at Ticket Desk.
utes or so one wishes for a is rock and roll; Kiss-a punk rest of the hodge-podge. fully digest its dazzling impact.
little variety. Still, for all its band, popular among the taste- It is his work that carries the CINEMA GUILD-
imperfections, this is an in- less hard-core-is different from, WITHOUT a doubt, the song band and makes it all believ- Tonight at 7:u '9.:5
teresting album; and is, after say, Bruce Springsteen. Journey that makes the album is the able.O9
all, the first one featuring Di- is somewhere in the middle: title cut "Look Into The Future," Hopefully, Journey won't dis- Old Arch Bldg.
Meola compositions. He dis- Inot as raunchy as the former, eight minutes and ten seconds anpear-either into the obscuritykAdm$1.25
plays potential that experience, but not nearly as tame as the of melody that leaves one where so many good bands end mission .2
hopefully, will help him fully 'latter. breathless and screaming for up, or into the wasteland that ,
realize. The band is composed of rela- 'more. The lyrics by Schon flow even more bands are in present-
- " - with the power and ferocity of ly. And the album proves that
ST: the Mississippi and the vocals' the rock "n roll record industry
by Rolie are sung with the en- doesn't have to produce junk-
ergy matched only perhaps by that garbage one hears on WD-
SiansRobert Plant or Roger Daltrey. RQ-but instead give us quality
- ap p a n k an tasy jBut the big story here is the and respectable material.



7:00 & 9:00

x 1 7 .l

rjYHE SETTING of Cat Steven's new album
Numbers is an imaginary planet inhabited
by nine polygons.
Everything is well and orderly on the planet
until one day when it is invaded by a stranger,
a Christ-like figure named Jzero, who is de-
termined to break down the order of the
planet and encourage the inhabitants to see
themselves as individuals rather than just
This narrative provides a unified theme
throughout the album, in contrast to Stevens'
earlier work. All of his previous albums pre-
sented a lot of cute artwork and an assorted
number of corresponding themes that were
rarely developed in full.
THIS UNIFICATION is carried over into
the music itself through a variety of instru-
ments and rhythms that serve to achieve a
highly-developed integration of sound.
A light, bouncing melody on the electric
piano in "Whistlestar" sets the opening tone
of fantasy for the album.
Steven's familiar heavy staccato rhythm
varies effectively in such songs as "Majik of
Daily Classifiec
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Majiks" and "Drywood" in contrast with the
monotony this effect often achieved in earlier'
hibits his most well-developed voice with con-
trasts of tone and a variety of range which
is punctuated by dramatic crescendos.
In contrast, the anthem "Land o' Free Love'
& Goodbye" combines a simplicity of lyrics and
rhyme with a light melody on the harpsichord
to achieve an almost reverent effect.
Stevens uses the greatest variety of instru-
mental effects on the song "Home," which lends
it a rather celestial or magical quality.
HE EVEN MANAGES to include a song like,
"Banapple Gas," a rather commercial sound-
ing song about a health food high, by vary-}
ing his musical style only slightly.
Cat Stevens warns us on the record jacketj
that this album is not to be taken "2 seri-
ously." Nevertheless, this is technically the
most unified and well-rounded effort he has
yet produced, and - although the subject
matter is fantasy -the quality of the music
establishes him as one of the more polished
and sophisticated musicians around today.

GLENDA JACKSON . . . Double Feature
(Michael Apted, 1974) AUD. A-7:15 only
Alternate title SOLDIER IN SKIRTS, important study of
sexual stereotypes and role playinc that may be too far
ahead of its time.. A morose younq army deserter reluctant-
Ivaoarees to disguise himself as a woman in order to con-
tinue livina with an independent farmer's wife. (GLENDA
Jackson) during World War 11. With Oliver Reed.
(Ken Russell, 1970) AUD. A--9 only
An encyclopedia of filmmaking technique, and a masterful
adaptation of the D. H. Lawrence novel. Glenda Jackson
won an Academy Award for Best Actress. "It is difficult
to recall another film that so successfully recreated the
past with a depth that bringis to life every album snapshot
we have seen of the time. "-Judith Crist, Alan Bates,
Oliver Reed, Jennie Linden.
$1 .25 Sinqle Show $2.00 Double Feature





In love, it is
better to give
and to receive.
I'm Emmanuelle-
I can show you
how to do both.
No partner in love should be
cheated. Both should be sen-
sually alive.
Let me show you that
nothing is wrong if it feels good.

8:00 p.m.
March 19 and 20
3:00 p.m.
March 21
Reserved Seats
at $4, $3, 2


Music by William

Gay Delanghe's
Albright (Seven Deadly Sins)



Doris Humphrey's
Music by Bach (Brandenberg Concerto No. 4)
Elizabeth Weil Bergmann's
Music by Vivaldi (Sonata in D Major)
Other Dances by Vera L. Embree
and Guest Artist Montreal Choreographer

Michigan Theatre
Ann A Am.

Th~ Jgmu

from the people who uave you ",hea Ja Sinmer,,

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