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ARTS
The Michigan Daily Saturday, March 19, 1983 Page 7
Expect: Dynami cdac
By Kathryn Glasgow
F YOU'RE LOOKINyG for weekend
entertainment, "The University
Dance Company in Concert" is a per-
formance you shouldn't miss.
If you appreciate dance already,
tonight and tomorrow night's shows
will more than satisfy. If you're not yet
into dance, the Dance Company could
greatly exceed your expectations and
leave you wanting more.
Expect: A curtain rising on a
darkened stage. The dancers pose in
place against an artistic screen which
provides an abstract, subtle setting.
The silk dresses and leotards are sim-
ple. The music is haunting, slow, inten-
se. Focus on the dancers. Their moves
are graceful, their timing is perfect.
Expect: The choreography of guest
choreographer Alvin McDuffie, a 1973
University Dance graduate. McDuffie
has performed, choreographed and
taught dance extensively, both in this
country and in Europe. His
professionalism and eclectic jazz style
bring a distinct flavor to the show.
Expect: An impressive mixture of
moods and styles from the other
choreographers, Vera L. Embree,
Willie Feuer and Susan Matheke. The
profound exhibit of ballet, modern dan-
ce and jazz succeeds, due not only to the
expert choreography. The dancers, in
an extraordinary display of talent,
bring depth and vivaciousness to the
choreographers' diversity. They really
shine in the souful, intense pieces when
they dance to mysterious music of the
Ann Arbor Art Ensemble. The live
music combines with the abstract
backdrops and quiet costumes to create
an unobtrusively dynamic atmosphere.
McDuffie's number, "Night Passages
... Beyond," uses a collage tape
featuring the voices of Brian Eno,
Chick Corea and others. The unusual
recitation provides a compelling con-
trast to the silent language of dance and
a change from the expected or-
chestration. The background chanting
sounds vaguely like Pink Floyd, adding
another element to dance which is or-
dinarily visual and spiritual.
A break from the intensity in "Night
Passages" comes in a light, jazzy in-
terlude. The dancers come alive again-
St an upbeat background of jazz music.
Suddenly, they are sexy, flirty,
energetic. This is the most entertaining
part of the concert. Expect to tap your
feet and move to the rhythm. You will
have a burning desire to "shake it," to
dance, to be up on stage with the
University Dancers. At the very least,
expect to smile.
Great expectations? Keep them. You
won't be disappointed. The performan-
ce plays at the Power Center, Satur-
day evening at 8 p.m. and Sunday af-
ternoon at 3 p.m. Tickets are on sale for
$5.50-$6.50 at the Michigan Union.
Lyman Woodard smiles his way through tonight's concert at the U-Club.
Lyman Woodard'Os
"j'azz ain't no lemo
Limbs fly at this weekend's University Dance Concert performances in the
Power Center.
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84No319
Records
The Collins Kids (Epic)
Meet the Collins Kids, Lawrencine
May and Lawrence Albert; Lorrie and
Larry for short. The album was recor-
ded in 1958, when Lorrie was 15 and
Larry 13. It has been re-issued this
year.
S Aw,ain't that cute. Little rock/coun-
try kids from the fifties, all be-fringed
and be-sequined and glitter-cowboyed
up in western swing tradition. Yup, and
making music as legitimate today as
16-year-old Annabella Lwin or Musical
Youth. The Collins Kids do some fairly
serious rockin'.
Lorrie sings most of the songs, and
she is wonderful. All of the sexual sup-
pression put on a 15-year-old girlchild
singer of the '50s (especially one
chaperoned by her 13-year-old buzz-cut
brother) comes growling, screaming,
crying, moaning out of her mouth in
dripping vocals.
And the lyrics that she is singing
aren't any soft touches, either. The
words are at least as sexy as anything
Elvis was doing at the time. "Ummm-
mMMeeeercy! What my baby does to
me, me, me" doesn't leave much doubt
as to what is being done. (That song
was written by the Collins family, too).
Lorrie slows it down a bit with "Rock
Boppin Baby," but the sexiness is still
there.
Neither of the Collins Kids have any
trouble making it rock. "Hoy Hoy Hoy"
really moves; starting the whole thing
with a true finger-popper.
While Lawrencine May is yowlin',
Lawrence Albert is doing some pretty
heayy pickin'. (And dhy would we want
to doubt that it really is him?) He sure
has the right equipment-a monstrous
double-necked guitar bigger than he is.
The top neck says "Larry" and the bot-
tom neck says "Collins."
Larry's Big Moment comes with the
first cut on side two, with the vocals on
"Whistle Bait," another family-written
tune. The guitar intro sounds pretty
normal, but when the vocals start you
think the record is on the wrong speed.
Larry lays into it with a rabid, vermin-
like screech. It's Alvin the Chipmunk
after he's injected POP into his
eyeballs. Sad to say, Larry can't keep it
up for the whole song.
Larry also gets to do an instrumental
duet, "Hurricane," in which he "frac-
tures the frets in a frantic fingerpicking
duet with guitar maestro Joe Maphis"
(The too-good-to-be-ignored description
came from the back of the album
cover.)
Surprisingly, the youth of the Collins
Kids is only really accented twice on
this album. "Soda Poppin'
Around"-which starts out with poor
Lorrie missing the sophomore prom,
and ends with her drowning her
sorrows in soda-is fairly tolerable in
an Everly Brothers wimpy sort of way.
But "Hot Rod," with lyrics like I'm
only 14/but I'm going on 15/can't
wait to be 16/so I can get me a hot
rod is just too obvious pandering to a
"cute kids" audience. Besides, it's too
slow.
Two questionable songs are a small
price to pay for such a piece of wonder-
ful camp,'50s Americana, though.
-Joe Hoppe
By James McGee
TONIGHT, SOUNDSTAGE presents
to some and introduces to others
the Motown sound of the Lyman
Woodard Organization. The perfor-
mance runs from 9:30 p.m. until 2:00
a.m. at the University Club in the
Michigan Union.
Born outside of Detroit, Lyman
Woodard was exposed to varied styles
of music at an early age including the
rock 'n' roll of Chuck Berry and Fats
Domino. Woodard's exposure to jazz
came while attending Oscar Peterson's
School of contemporary music. It was
here that he was introduced to the
keyboard techniques of Jimmy Smith,
the master of the Hammond organ.
Woodard's professional experience
began in the early 1960s as he worked
dance halls and night clubs in Flint,
Jackson, Lansing, and Detroit,
Michigan. In 1964, Woodard moved to
Detroit and formed the fabulous Lyman
Woodard Organization.
. Lyman Woodard, however, did not
restrict himself solely to his
"Organization." In the early '70s,
Woodard accepted the position of
musical director for Martha and the
Vandellas. This was the starting point
of the growth of his reputation as a
diverse and adaptable musician. Later,
he became involved with such popular
Detroit artists as Ron English, Norma
Bell and Marcus Belgrave.
As time progressed, the reputation of
the contemporary jazz sounds of the
Woodard Organization grew and it soon
gained recognition nationwide. The
Organization has opened for such
popular artists as Herbie Hancock, the
Jazz Crusaders, Billy Paul and Mose
Allison. One of the more notable
achievements of the Woodard
Organization was its participation in
the Montreux Detroit International
Jazz Festival in 1982.
In the past couple of years, the
Organization has produced two albums,
the most recent entitled Don't Stop the
Groove.So if you haven't been to the
Club recently, treat yourself and your
date(s) to a couple of hours of serious
jazzy jams with no unpleasant sur-
prises.
r.-
wm
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