Tuesday. May17, 1977
THE MICHIGAN DAILY
.....+.....,.... ,/ ... ^ j... r.
Page Seven
ALLEN'S LATEST, 'ANNIE HA IL':
Records in Brieft;
AM'I :o~ I..:Ad
EMERSON,LAKE and Pal-
Works Volume I, reflects both
the group's musical refinement
(achieved during the three year
composing haitus since Brain
Salad Surgery) and (heir chang-
ing ideas towards their music.
The inevitable result of this ma-
turity was a split in the trio's
nersonal goals (i.e., solo al-
bums), but ELP has wisely de-
cided to record one two disc
album, offering three individ-
ual solo sides and a fourth side
representing the entire group.
Keith Emerson, one of the
most talented and revolution-
ary classical rock keyboard ar-
tists, has shifted his musical
style considerably with this al-
bum. His side is a purely clas-
sical piece entitled "Piano Con-
certo No. 1." It is a very am-
bitious work, performed with
the London Philharmonic and
meticulously orchestrated. At
times it has a pretentious air,
but Emerson's demand for per-
fection overshadows this - his
flawless production and his
beautiful flowing melodies, con-
trasted with the jazzy piano
solos, elevate the work and re-
veal a talent that is capable of
serious music.
Burton
(Continued from Page 6)
eerie and stirring without be-
coming completely disjointed, a
tendency that many such com-
positions often wander into.
The next song was Carla Bley's
Vox Humana from Burton's al-
bum devoted exclusively to
Bley's rusic.
THE THIRD offering was an
untitled piece by bass player.
Swallow, which proved to be
the most vigorous of the con-
cert. This was followed by Keith
Jarret's Choral, with its soft,
rippling guitar solo.
The next number was another
solo by Burton. Here Burton dis-
played the advantages of his
original technique and his own
versatility and expertise as he
performed a rapidly complex
composition that included melo-
dy, chimes, and difficult rolling
runs.
The final piece was the most
varied and polished performance
of the evening. It was Weber's
"Colors of Chloe" from the
"Ring" album with Weber and
Burton, and it consisted of sev-
eral differing musical segments
that suggested a string of vary-
ing images.
FIRST WEBER, bowing his
bass this time, produced a sound
Drummers are notorious for
one dimensional musicmanfhip,
but Carl Palmer's side is an
admirable achievement, consid-
ering that he's the weakest
composing member of the
group. The side is a study on
rhythms, from the slow "Bach
Invention in D Minor" to the
hectice "L. A. Nights," which
has fast melodies rapidly
changing to a staccato beat.
Palmer's - always welcomed'
"incredible" drum solo is found
in "Food for Your Soul" and
his tuned percussion produces
a superlative effect. Palmer
had a lot of help with his side,
but his own unique style still
shines through.
The ELP side opens with a
fine rendition of Copland's
"Fanfare for the Common
Man," features Emerson's leng-
thy synethesizer jam and Pal-
mer's syncopated percussion.
The last song, "Pirates,"
boasts additionally intricate or-
chestration and has a- sound
similar to Rick Wakeman's
concept albums. Unfortunately
it is marred by poor engineer-
ing - everyone except Lake is
drowned out by the roar of the
orchestra.
-Dobilas Matulionis
delivers
like a bellowing foghorn. This
was framed by shimmering
chords on the vibraphone, which
effected the image of a ship
cutting through a morning fog.
There was a sudden break while
the music grew faster and loud-
er, then another break followed
by tinkling chords that sounded
like raindrops. The foghorn im-
age returned and was followed
by a complete change of pace
as drummer Gottlieb brushed
his cymbals and then lit into a
frenzied drum solo. The rest of
the band returned and continued
to wind up the concert on this
energetic note.
Burton returned for one en-
core, again humbly thanking the
audience, then slipped back off-
stage, proving once again that
listenable music in the 70's isn't
all hype, silly lyrics and loud
chords, but is occasionally a
creation of innovation and re-
flection.
TONiGHT
VYOOG Tails InI lVe
By GERARD PAPE
ANNIE HALL, Woody Allen's
newest film, now showing at
the Fifth Forum, is quite fun-
ny, much richer and more com-
plicated than anything Allen
has previously done - and yet
there are difficulties;
The problems that he encoun-
ters is maintaining the delicate
balance between the 'full and
moving love story and his usual
comedic devices that include
sight gags and disjointed one-
liners. In many ways, Allen's
Alvy Singer and Diane Keaton's
Annie Hall are simply too cari-
catured to feel for; their love
looks real, but the dissolving of
their relationship, although well
depicted, looms largely unex-
plained.
Annie Hall is very much a
New York film, with New York
jokes and prejidices. Alvy
Singer is a typical New York.
Jew, while Keaton is depicted
as coming from a Midwestern
family-WASP, with a capital
W. Singer and Hall are seen
engaged in a tvnical New York
intellectual activity, that is,
prowling Art cinemas
- .ur~
Singer makes fun of Los An-
geles, as any good New Yotker
would. All this material is tried
and true Woody Allen and, fun-
ny; the problem is that none
of these comic scenes help tell
us why Singer and Hall click as
a pair, or why they eventually
dissolve. The problem with An-
nie Hall is that we don't know
why Singer and Hall are in love
at all or annoying each other
and eventually breaking up.
WE KNOW they love each
other; the wonderfully atmos-
pheric scenes in which Keaton
sings wistfully nostalgic songs
as Allen listen enraptured prove
it. Perhaps, it is unfair to ex-
pect Allen to be analytical, he
is, after all, doing a comedy,
and to involve us and make us
care as much as we do with
Singer and Hall is quite a feat.
The awkwardnes of Singer
and Hall's first get-together
with the masterful use of sub-
titles to get at what they are
really thinking is an effective
comic device. The beautiful
"Seems like Old Times" sung
by Kenton says more about the
heartbreak ilnd regret of Song-
er and Hall's broken relation-
ship than a lot of hackneyed
dialogue.
The aforementioned scenes
are both moving and beautiful,
and co-ewently, in a hundred
little ways, Allen shows his
love and t'nderness for co-star
Keaton. The film is the ulti-
mate loe poem by the off-
screen Woody Allen for her. So
perhaps it is unfair to ask Al-
len for more than he set out to
accomplish, but without the
missing imgeedients of charac-
terination and the exposition of
their love-hate relationship, the
audience is left at a bit of a
loss to exolain why this re-
lationshin was so important to
Alvy Siniw r Woody Allen to
have insnired this otherwise in-
spired film.
AnnIARBR PCIMC ThI(R(
May 18-22, 1977
by Marcelle Murette
at LYDIA MENDELSSOHN THEATRE
Tckers avaiable at the Leogue Box Office.
Phone 763-155
ANN A 0CI? FILM CC-f I)
@0*@*. Os@*@@ ee eee S. e@*@ * @@O* e5@* e
Tuesday, May 17
POINT BLANK
(John Boorman, 1967) AUD. A-7:00 ONLY
A thug (Lee Marvin), double-crossed and left
to die in an abandoned prison, miraculously
manages to survive. Thus he begins an all-con-
suming search for his stolen money and traitor-
ous wife, a hunt which takes him through a
surrealistic night world fo danger and death.
With Angie Dickinson, Keenan Wynn, Carroll
O'Connor.
BAD LANDS
(Terrence Molick, 1973) AUD. A-9:00 ONLY
It's 1959 and Kit (Martin Sheen) meets Holly
(Sissy Spacek). He kloks like James Dean and
she twirls baton. Her father disapproves of the
relationship and Kit kills him, beginning a ram-
page of killing and running from the law that' is
headilne news throughout the country.
3VIF RTORY77
Kiss Me 'Kate
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