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 JULY 5- 10 -~gDeslre under the 'Bims JULY 26.29 & AUGUST 4 7 i r,,J _'waft Until'Dark JULY 27 30 & AUGUST 2 5 SUBSCRIBE NOW! an And6uperman. JULY 28, 31 & AUGOUST3 6 4 Shows for the Price of 3! Select a series (Tuesday, Wednesday, Thursday, Friday, Saturday, or Sunday) for your first three shows and then give us your choice of dates for the fourth show. SUBSCRIPTiON TICKET PRICES Tuesday series (KATE, DESIRE, DARK) Ful Value Subscribers Valu Wednesday series (KATE, DARK, MAN) Oi0cestra Center 4. 11.00 Thursday series (KATE, MAN, DESIRE) orchestra Side 1 0 n.75 Friday series (KATE, DESIRE, DARK) Front Balcony A1 9.50 Saturday series (KATE, DARK, MAN) Side Rear icony 9 7.00 Sunday series (KATE, MAN, DESIRE)(matinees on ly Pler NoerDuectocthis yeur'sescuingiyoursie order wii be filled within the same price range, but not Mak h.ksiayte o The Unversi ;of Mhiincm and mai toMichigan necessarily resulting in the same seats. Rep '?/, i s.rrlTiih _ TnAreU M. A Au,)r 48109 MASTERCHARGE BANK AMERICARD SEASON SUBscRIPTION ORDER FORM accepted with mail orders only. Michian Rep '77 IMPORTANT INFORMATION DATE SSeson.cituons only are on salec I NAME -PHONE thoush June27. Only mail orders illbe A acceiid triough June 12. ; ADES e 2. MI Re 770uo fiieiopeuneu 13 f,or SretCty state Zip subcniicion sae. I 3. Indivdual.shows goon sale June 20. SeriesODsired N.uftuscriptis 4. Maii orders will befilleduin order of receipt. Write in day and date of 4th show Price Each 5. Subscribers tickets for all plays wil be mailed o to complete your subscription: . Total on June 10, 1977. if a stamped, self-addressed1 return envelope is not enclosed, tickets will be IWould like to see ce'd for pick up at t hoMIi Rep 77 ox Office. DESIRE MAN DARK SignatureRequired 6, Note curtain times: #11 evenings at 8 p.m., SundayMineperformance i at 2 p.m.t. ay and Oate: Stamped, self addressed envelope enclosed comers wilbeseadt hedisceton othe C iftorder cannotbe filled as rnquested, pie 'com's '" *****4"'''*'''''*"*'"* My Card expires ""**''"***""*'4***"" house manager. I dsuibStitute best available tickets remaining. 7, We regret that no refunds can bemade. wwill circleOne:C uiiuuoocrde kosS, cih.I Matrcie FOR OFFICE UlSE ONLY assist you in exchanging tickets when possib'e. I Master Charge No tickets exchanged on day of performance- Bank Americard 0. Sinqle tickets available through Hudson's oetroit a area&uarwood)orCentral Travela&Tickets Iredit (Toledo area) after June 20, 1977. tuCard No.