THE MICHIGAN DAILY
S iJ E O NE music in review Wednesday, January 14 1976 Page Five


Boling's
solos to a

'Suite'

adds

jazz

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Baroque setting

By KEVIN COUNIHAN Bolling's piece is unique in that? vamp from it, even including a° a producer, especially in his re- ! IVI m e wan1n
j, ORE OFTEN than in previ-jhe successfully fuses improvisa- solo spot for his articulate bas-! cording of the drums. The one
ous ages, composers in the tion within the strict counter. oist.RProduction flaw lies in his ex- AND
twentieth century have sought point of a Baroque suite. The The inclusion of Rampal is cessive use of reverberation onME
the means to assimiliate ele-;original 17th century definition somewhat perplexing and can the flute, producing an irritating MIXED BAG
ments of other musical genres of suite" was a group of short only be rationalized as a mar- echo which does not balance
into their compositions. dances, and Bolling keeps to keting technique. While Rampal with the other instruments.
Whether it be the peasant form by writing seven diverse is undoubtedly a master of Ba-
songs in the scores of Stravinsky movements, two of which are roque literature Bolling pro- Reverberation cannot damageen
outstanding. vides few complexities for a Rampal's exquisite pitch and
of electronic tape and acoustic The first dance, appropriate- challenging display of his cele- phrasing, however, and the
instruments in Mario Davidov- ly titled "Baroque and Blue" brated wizardry. Suite is still a valuable accom-
sky's Syncronism series, con- begins with a typically Baroque Labeled as Rampal's "first plishment. Bolling is a composer First Show 8:00, Second Show 10:30
temporary composers often rely theme in the flute and is im- jazz recording," Bolling's Suite who should be recorded more Doors open at 7:30
on other mediums to provide in-often in this country as he ap-
o n o h ehe i u s t r o i e i n - n :: . .. w s w .. . ;.: : :: :. j. ;:; ; t p e a r s a l e t o w r i t e w o r k s o f -- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
spiration. (This penchant may : ..... ......,.....:..........,......,:,,,.,, : ' "E ,. . ' quality while to i ng r
have reached its extreme in the fiildsryn oi u scribe to The D iyo e7 40 5
frustrated eclecticism of Leon- Bolling's piece is unique in that he success. fial musical boundaries. S bs Daily-Phone 764-0558
ard Bernstein's Mass)' fully fuses improvisation within the strict
A tasteful and satisfying bal-oq
ance of styles has been reach counterpoint of a Baroqueisute.

Northern Lights':
THe Band plays on
By JEFF SORENSEN
If nothing else, The Band's latest album, Northern Lights--
Southern Cross (Capitol 11440), has to be one of the most exasper-
ating records of the year. The Band clearly is one of the most
talented rock aggregations ever (as evidenced by their first two
solo efforts and their' work with Dylan), yet they evidently
haven't come up with any new musical ideas in six or seven
years.
Nevertheless, the new album, their first with fresh material
since Cahoots in 1971, does contain a few bits of musical treasure,1
but these are buried so deep that none but the most dedicated:
Band follower will be able to wade through most of this effort.
THF BAND has always attempted to recreate a feeling of the
American past, both thematically and musically. However, on
the new LP, these themes have become old hat for the group;
they've plowed over this same ground so many times now that
the listener can't help but react with a sense of ennui more than
anything else. Robertson's eight new songs sound remarkably!
similar on first listening-the tempos, melodies, and vocal styles
have so much in common that the album requires hours of atten-
tion before the songs begin to settle themselves out in your mind
as separate musical entities.,
Even so, five of the eight numbers are embarrassingly poor.
"Jupiter Hollow" and "Ophelia," in particular, seem to pack
all the punch of a limp rag; and some of the ballads like "It
Makes No Difference" tend towards a lazy, almost comatose
feeling.
THE ONLY noticeable innovation is the production of the LP.
The vocals are mixed up and Robbie Robertson's lead guitar is
mnixed down-a pity since Robertson's work on their earlier
LP's is one of the most distinctive aspects of the group.
However, three of the compositions redeem the value of the
LP. "Ring Your Bell" features one of Levon Helm's grittiest,'
most down to earth vocals ever; while "Hobo Jungle" and
"Acadian Driftwood" are two plaintive ballads that convincingly
tell tales about the death of a vagabond and religious persecution.I
These three numbers may save Northern Lights from pro-
jecting out-and-out boredom, but The Band is desperately in
need of an injection of new blood if they hope to maintain their
reputation as one of rock's most venerable rock groups.

ed in Claude Bolling's Suite for
Flute and Jazz Piano (Columbia
M 33233), featuring the com-
poser on piano and the stellarj
flautist Jean-Pierre Rampal.
Boling's unpretentious work
remains true to Baroque struc-
ture and is perfectly executed
by Rampal, Bolling, and the
rhythm section of Marcel Sabi-
ani (drums) and Max Hediguer
(bass).
The incorporation of jazz into
the more strict discipline of seri-
ous music is surely not a new
concept.
Ravel and Stravinsky (1' His-
toire du Soldat) have used ele-!
ments of jazz and cabaret
music in several works, and
both American and European
music after World War I reflec-
ted the jazz influence in the
compositions of George Gersh-
win, Kurt Weill, and Darius
Milaud.i
DESPITE THIS "tradition,"'

........... .... .... ..... i:"$: . **,: . .:.-* * , df~J..rst'/ri ~ :* r

mediately imitated by the pi-
ano. The tune is tossed back
and forth in fugue-like fashion,
and, after its neat resolution,
Bolling launches into a swing-
ing seventh chord and begins
the improvisation, well-support-j
ed by his rhythm sidemen.
BoIling's compositional skill
is displayed in this section
where the improvisation is also
structured as a fugue and flows
back to the introductory state-
ment.
A PROMINENT jazz pianist
and film composer in France,
Bolling utilizes his obvious tal-
ent for melody in the writing
of three movements. One move-
ment in particular, "Fugace,"
could pass as a title theme for
a film, yet Bolling never fore-
sakes his compositional obliga-
tions and molds a first-rate jazz

allows no space for flute solo-
ing (which is probably for the
best). The improvisation re-
mains exclusively with Boling
who only on occasion rises above
the standard tricks of a good
cocktail pianist.
THE ALBUM'S sonics are al-
most perfect and Bolling shows
experience and competence as
Campus Chapel
invites the public to
a workshop in three sessions
"Cadillacs or
Communes:
Choosing a Lifestyle"
Lifestyle considerations in
light of World Poverty
Ti
1 ~ Thursdaysr
Jan. 15, 22, 29
7:30 P.M.
Jan. 15---"Beyond the Next '
Harvest" CROP Film
Jan.22-A panel of five
Christins representing
various lifestyles
Dr. Al Verhev, Hope
College--Moderator
a.29-r. George
Mavr es, UM Philosophy
Dept.
1236 Washtenaw Ct.
(one block north of
S. University & Forest)

T' -MUSKET
MASS MEETING for,
"'HELLO
DOLLY"
WJanuary 14, 1976
7:30 P.M.
2nd Floor, Michigan.Union
AUDITIONS-Jan. 15-17, 1976


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111it (
own

Towner
unproves
Burton
Q uintet
By ROBBIE GORDON
THE STANDING ovations for
jazz guitarist Ralph Towner
at Detroit's Showcase Theatre
last Saturday night proved that
he is just what Gary Burton's
Quintet needs.
Opening the concert with solo
work on 12-string acoustic and.
classical guitars, Towner pro-
duced an amazingly pure sound,
using all parts of his instru-
ment. He would drum on it, pick
at the strings on the neck with
both hands, and find harmonics
where most players never knew
they existed.
Towner's technique is close to
what Miles Davis calls "cliche-
free." His ideas are difficult to
follow initially, but the warm
tones proved to be ultimately
enrapturing. His approach is
personal and sensitive and de-
fies simple categorization.
THERE WAS AN abrupt styl-
istic change when Towner left
the stage and Burton's Quintet
came on. Comprised of Burton
on vibes, Steve Swallow on bass,
Bob Moss on drums, and two
efficient but lesser-known gui-
tarists, the Gary Burton Quintet
prOvided a limited and uninspir-
ed set.
E~ach piece began with a con-

TAINMENT
MORE ECO-
PHONE1'he Collaborative
PHONE
Day or Night
955-5051 UAC-Michigan Union ART CLASSES
$20 . . . 8 week term . . . one class per week
TO START JANUARY 26, 1976
BATIK. Saturdays, 1-3 p.m. PAINTING. Tuesdays, 3:30-5:30 p.m.
Carol Shostok will teach methods of dveing designs on cloth This is your chance to explore basic technigues in any point-
by coating areas v.ith removable wax. Ms. Shostak will draw ing media: watercolor, acrylic, oil, gouache, ego tempera.
from her wide range of experience to include methods of Whether you ore interested in representational or abstract
displavinq works created, methods of working at home. In- images, Martha Keller. M.F.A. in Pointing, plans to help
dividual attention will be given to each piece of work students develop their individual interests.
created.
PHOTOGRAPHY. Mondays, 7-9 p.m.
DRAWING, Mondays, 3:30-5:30 p.m.
RG M a 3 53Mark Reeseman's class deals with basic darkroom and
Robin Wilt takes a unique approach to basic drawing for camera techniques. Students will learn the essentials of bl#ck
beginners. Line and its role, texture as visual roughage, and white photography, including how to take a goad photo-
volume through shading, and other traditional techniques graph, how to get a good negative, and how to print pho-
will be studied. Ms. Wilt has exhibited widely and has a toaraphy.
areat deal of teaching experience,
POETRY. Thursdays, 7-9 p.m.
ETHNIC CLOTHING.
A course in the writing and reading of poetry. Lawrence
Wednesdays, 3:30-5:30 p.m. Russ, M.F.A. in writing and 2-time Hopwood Award winner,
and Rochelle Siegel plan to pursue techniques of writing as
Bettie Seeman, Ph.D. in Theater and currently a couturiere, well as following the interests and needs of students, Infor-
F'. has been a stage costumer for 15 years. She has taught motion on publishing will be given for those interested.
courses in costumina at both EMU and U. of M. Her spe-
cialty is oattern drafting, and this course will include a
study of styles of peasant colthing and how to draft patterns SCULPTURE. Thursdays, 7-9 p.m.
for the kimono, the peasant shirt, the Renaissance shirt, etc.
Ralph Wolfe tecches with two objectives in mind. One is to
have the student produce an entire piece of sculpture in
JEWELRY. Saturdays, 11-1 p.m. wood, plaster, styrofoam or plexiglas. The second is for
those desiring to work in one material that would be later
Eileen Curtin, M.F.A. in jewelry, will teach basic processes of cast in another material, such as clay or wax modeling to
forming, cutting, ioining, soldering and polishing jewelry. be cast at a future time in plastic resin or metal.
Each student will be able to complete at least one piece,
SILKSCREEN. Tuesdays, 7-9 p.m.
LEADED GLASS. Mondays, 3-5 p.m.
Dean Peterson, M.F.A. in Printmaking, will teach basic tech-
Irene Dabanian, alassblower and olassworker, will teach niaues including piper stencil, glue resist6 tusche-glue tech-
techniques of copper foil wrapping stressing elements of niaues. Aqua and lauer film techniques as well as mano
desian that apply to two and three dimensional projects. screen techniques may also be explored, depending upon
Mosaic style work in epoxy is optional, student interest.
uture is Stag-
knowi~n v,'u I M AAR AE..Wpra~le lnve 7.0 nCm %nl;TCrIll E"TI DC TL...a.Jue A -9

A Soot am.ai nwao-t cancA

One day the scariest thing about cancer
may be the needle that makes you im-
mune to it.

And the promise for the fu
gering.
Wildn't vou feel noodk

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