ARTS rage... E The Michigan Daily Wednesday, January 15, 1986 Page 5 English Concert loves tradition By Rebecca Chung TONIGHT at 8 p.m., one of the greatest gifts of the early music movement, Trevor Pinnock and The English Concert, will be gracing Rackham auditorium. Their program promises to be a Bach-lover's dream, consisting of C.P.E. Bach's Sym- phony No, 3 and Oboe Concerto in E- flat Major, and J.S. Bach's Har- psichord Concerto (BWV 1059), Bran- denburg Concerto No. 3, and beloved Concerto for Two Violins in D minor (BWV 1043). For those skeptics who doubt that great music cannot possibly survive a deluge of antiquity, or who have been jaded by early music ensembles who rely more on their relics than their musicality, this is the group that could alter your perceptions. Perhaps Trevor Pinnock can allay your fears better: "As I see it, the fact that we choose to perform on historical instruments is, in a way, a private concern of ours, rather than a public one...we have to make clear that what we do is not just a historical exercise. Nor is it a mat- ter of fashion. Rather, it's something to do with how we put the music across." "We're fascinated by the colors of the old instruments' sounds, and we find that we can exploit the in- struments to their fullest potential in the music that was written for them. It's a matter of finding the right tool for the job: if you discover the techniques of the old instrument, and play it long enough for it to be a really natural mode of expression for you, then it becomes the vehicle through which you can most directly put the music across to the audience." He continued, "In England, now, audiences have gotten used to the sound of a concert on old instruments; in fact, on the BBC radio, they no longer announce that people play period instruments. Nor should they have to. If we can't make an acceptable sound that can be heard simply as an acceptable sound, without a special label, then we shouldn't be playing. And if we can produce a good sound, then there's no need to say we're playing old in- struments. What's happening, in short, is that the early instrument is finally being seen as it should be seen - that is, as a natural part of the mainstream of serious music- making." Pinnock formed the Concert in 1973 after becoming fascinated with the idea of re-utilizing old performance methods and instrumental technique. "It was a crusade, and it was jolly tough work. I was not interested in taking an academic approach. I knew that if the music was to be put across convincingly, it had to get into the hands of committed players. And I remember what a struggle it was for us; there were good musicians - people who could play modern in- struments very well, knowing what they wanted, and not always achieving it. There were frustrations; and there was the agony of knowing that what one was doing was merely a feeble attempt. And sometimes one quite lost heart and felt like giving up the whole business. But it was necessary to work through all that, in order to learn the secrets of the in- struments." Since then, their reputation has skyrocketed. They are known not only for their expertise in handling their instruments, but also for the musicality of their performances. Among their honors are a Gramophone Award for Best Early Music of 1980, the Deutsche Schallplatten Preis in April, 1981, and three Classical Edison Awards (a distinction they only share with The Academy of St. Martin-in-the-Fields). For tickets, contact the University Musical Society's Burton Tower Of- fice between 9 and 4:30. Pinnock, speaking for the ensemble, said, "We all felt it was worth it, and were glad to do it." So will you. Jesse Colin Young, a folk musician whose work spans the political and personal turbulence of the '60s to the introspective '80s, brings his show to the Ark tonight for two shows. Music of a lifetime Jeanne Mayle: dreams so real By Peter Ephross TESSE COLIN YOUNG'S music ;,and life over the last eighteen years has paralleled the ups and downs of the folk scene during the same time period. In the early sixties Young's 'rebelliousness and loud guitar playing got him thrown out of Phillips Academy. While this did not endear him to his Harvard- educated father, it showed that Young's future in this world would be music, not academics. At Ohio State, Young made connections with Bobby Scott, who took a liking to Young's blues/folk style. Scott helped finance and produce Young's first album, Soul of a City Boy, which Capitol released in ;1964. Of that first album, Young now says, "I was a rank beginner when I made it. But the seeds of everything I've done since are in that album." But Young's career really took tff with the rise of the flower power movement in the late sixties. ,Young's band, aptly named the Youngbloods, became a hit, first in (an Francisco, then going national with their hit "Get Together," which reached number five in 1969. With the breaking up of the Youngbloods in 1972, Young ven- tured into a mellower blend of jazz, rock, and folk. While these albums, particularly the live LP, On the Road, released in 1975, were suc- 'cessful, Young's personal problems began to come to the forefront. Young realized, at the same time that his brand of folk- rock began to decline in popularity, that his music, the long hours of working in the studio, the months ontour, were forcing him to lose sight of some important things in his life, namely his wife and two daughters. After a lengthy introspective period, Young wrote the songs for the album Hiding Away, a look at the man within the artist. Two other events came about from Young's period of seclusion. First, he disbanded his backup band, and second, he began to get involved in politics. Young par- ticipated in a 1976 anti-nuke con- cert and joined MUSE (Musicians United for Safe Energy), the group that performed the 1979 "No Nukes" concert in Madison Square Garden. But something was still wrong. As Young puts it, "I was still trying to write the songs, produce and sing and do as much as I could myself...but it just wasn't working anymore." Young's answer was to give up total artistic control and to use his music as a catharsis for his personal turmoil. The result was the 1982 release, The Perfect Stranger, one of Young's finest albums. Just as folk music has regrouped as a genre and made a mini revival in the 1980's,Jesse Colin Young has dealt well enough with his personal problems to once again produce some quality music. Jesse Colin Young will be ap- pearing at the Ark tonight for two shows, at 7:30 and 10:30. Tickets are $8.50. \A \ Wed., Jan.15 7pm Kuenzel Rm., M. Union By J.A . Nielsen IN A CITY where the typical 21- year-old spends nights studying for exams or filling out applications for grad schools, lives a girl who defies these norms and simply does what she loves best. Her name is Jeanne Mayle and she sings with her band called Jeanne and the Dreams. Mayle has been singing professionally since she was 15 years old, when she dropped out of high school to concentrate on music. Mayle moved to Ann Arbor from Washington D.C. in 1983 following the break-up of her old band, The Jeanne Mayle Trio. One semester in the School of Music Education was too much, and she was forced to quit because it got in the way of her playing. Mayle sometimes regrets that she has not pursued a more stable lifestyle. "Most of the time I am really proud of what I'm doing. Then other times I will look at myself and say, 'Where the hell are you going, girl?' "said Mayle. On stage, she appears certain of where she is going, as she steps onto the stage with the confidence of Mick Jagger and the exuberance of a cheerleader, clad in an antique black dress splashed with enormous magen- ta roses. Tossing her head back, the stagelights dancing through her thick, golden mane, she says, "Thanks for coming down to Rick's tonight. We're Jeanne and the Dreams, and we want you to have a few drinks, relax and get away from studying, working or whatever you've been doing." The band starts up. Mayle melts into a rich, throaty rendition of Al Green's, "Since We've Been Together." Steven Dreyfuss, 34, has been in the Ann Arbor music scene for 14 years. He plays the sax with Jeanne and the Dreams, as well as several other in- struments in three different bands. "Jeanne has a lot of talent and energy. She is rapidly growing into the role of an exciting entertainer. She has a great feel for soul music," said Dreyfuss. The band concentrates on motown, soul and early funk. "There is a wealth of material in that genre of music," she said, "for example, old Aretha Franklin, Ricky Lee Jones, The Isley Brothers." According to Mayle the most dif- ficult aspect of starting a band in a new city is to establish a reputation. "Back in D.C. I had a manager who took care of bookings. Here it is up to me to prove to bar owners that I am reliable and that my band is enter- taining," said Mayle. Mayle said her ultimate goal is not "to be rich and famous." She does, however, intend to move to a larger city. Correction Yesterday's photo of Dave Cross- land, should have been credited to Daily photographer Andi Schreiber. "I have no illusions of fame and glory. I really just want regional suc- cess, a large following and a moderate income in a city like Chicago or New Orleans," said Mayle. But for the moment Jeanne Mayle will remain in Ann Arbor and play music for us. Catch "Jeanne and the Dreams" at Rick's American Cafe tonight at 10:00 p.m. DARE TO BE DIFFERENT THIS WEEK AT GUILD HOUSE r 802 MONROE I ANN ARBOR, MI 48104 Friday, January 17 8:00 p.m. BUNYAN BRYANT Vice Chair for Issues, Ann Arbor Democratic Party: A Presentation on "Economic Democracy in Ann Arbor" "A grossly unappreciated merchant, this store features a range of merchandise and a personable staff which makes shopping there a rather pleasant experience-a sensation that is quite rare in Ann Arbor stores." -The Michigan Daily Put together your own unique look from our beautiful selection of comfortable natural fiber apparel. Featuring best bets like silk long johns, South American Alpaca and Merino wool sweaters, silk stockings, ear wraps, and more-just come on in and ask! Open 7 days a week 325 E. Liberty (Next to the University Cellar) 995-4222 1 is I January 15 6 - 8 p.m. RICE & BEANS NIGHT $2 requested Proceeds for material aid to Central America. "Understanding and Mastering the MCA T" A Seminar on the MCAT's Design and the Successful Student's Battle Plan TOPICS: " Overview of the MCAT and Its Purpose " MCAT's Major Pitfall: The Most Difficult Section of the MCAT " Strategies for the Concentration of Your Resources for Maximum Performance " How to Make Your 10's-12's, 11's-13's GUEST SPEAKER: NORMAN MILLER A I oadinn Fvnert nn the MCAT.