4 Tht Dally Tar Hs el Thursday, February 2, 1976
Joni, P D Q, Jazz Lab and UNC Symphony
usical highligh
the week:
ts
of
Editor's note: This week saw a vast variety
of musical performances in the area, the
most significant of which are reviewed here.
Joni Mitchell and the L. A. Express,
Feb. 7 at Duke's Cameron Indoor
Stadium reviewed by George
Bacso v .;,
In a manner qdite unexpected, Joni
Mitchell demonstrated to a capacity crowd
of 9.000 in Duke's Cameron Indoor Stadium
Saturday just what talent alone can do for an
artist of her calibre.
Joni usually so captivates her adoring
audience, that they are mesmerized by the
mere sight of her on stage. Consequently, she
can . have an off-night and still receive a
standing ovation and the lit matches which
have become commonplace at rock concerts.
At Duke, however. Joni was most often at
odds with her unruly audience, who
continually called for "Woodstock" and
other popular Mitchell classics, Joni wanted
to play new material, much of her audience
wanted to hear "Joni Mitchell's greatest
hits." and there the problem remained, with
STARTS
TOMORROW
2:30 4:10
5:50 7:30
9:10
Completely human and civilized
-a sex story that understands body,
skin and psyche as a single har
moniously responsive erogenous
zone worth cultivating without
apology, excuse or rationale.'
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One of the most visually dazzline
works in the history of film . . .
stunningly cinematic it ravishes the
eye and enthralls the ear..."
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KBest Film of the Year"
STAHLtY X.UBRICK
- , KIM O'hUL.-'MARIjiA 'HlR.NS0N
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STARTS
TOMORROW
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Joni unrelenting.
Although this confrontation may have
created a lousy rapport between artist and
audience, it did not seem to effect Joni's
performance. In fact, in a somewhat sick
way. it made Joni's singing and playing all
the better. Stripped of superstar veneer, the
former '60s folkie had to succeed on musical
ability alone - and succeed she did.
Without any of the usual introductory
formalities, J oni, looking very cosmopolitan
in a three-piece suit and hat, joined the L. A.
Express, who had played a good 45 minute
opening set of jazz-rock, on stage and
immediately lit into "Help Me," a roar
errupting from the crowd at the first
cascading verse. After quickly running
through "For Love Or Money" and "Free
Man in Paris." the Express left Joni alone on
stage for five songs, later complimented by
another five song solo set.
Joni's acoustic guitar numbers were
excellent, although her solo rendition of
"Centerpiece." which included some blues
guitar, failed to live up to the group
recording and jazz treatment found on her
new album, "The Hissing of Summer Lawns.
Her solo acoustic piano set, primarily
material from the new L P, did not come off
as well.
The seldom-smiling Joni's performance
with the Express was exceptionally tight and
highlighted by "Just Like This Train" and
"Raised on Robbery." The Express, though
hurt by the departure of Tom Scott, is her
perfect backup band. Subtle and not
overpowering, they are content with
providing Mitchell with letter-perfect
accompaniment.
Although her 24 song, over two-and-one-half
hour set was an excellent balance
between soft, introspective ballads and loud,
lighthearted rockers, Mitchell's performance
kicked the vitality, warmth and enthusiasm
one would and should expect from an artist
a free
film "The Good
Soldier Schweik'1
"Nobody believes how dumb Schweik really
is, so they assume he's a crafty spy but soon
he proves to them, that Schweik really is as
dumb as Schweik appears. And then he goes
off to enlist in the service of his country."
THURSDAY, FEB. 12
8 p.m., Carroll Hall
Presented by the Curriculum,
in Peace, War, and Defense
Friday, February 20
8:00 p.m. Memorial Hall $2.50
A Carolina Union Presentation
next to Blimpie's on Rosemary 967-8284
DOWNTOWN CHAPEL HILL'
DUSTIN
HOFFMAN in
'ALFREDO,
ALFREDO'
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Last day
3:30-5:25-7:20-9:15
Acres of Adjacent Parking
and talent as great as Joni. Without these
necessary ingredients for a great concert,
putting the Joni Mitchell who appeared at
Duke on stage was little better than putting
any of Joni Mitchell's fine albums on a
turntable and looking at her picture on the
album cover.
PDQ Back, Feb. 8 at Memorial
Hall reviewed by Lawrence
Toppman
"Why did Back have 23 illegitimate
children? Because his organ had no stops," a
member of the audience at the PDQ Bach
performance quipped. Alas, one of Johann
Sebastian Bach's progeny was PDQ Bach
( 1 897-1 742), whose eminence has at last been
revealed to the world of music by Professor
Peter Schickele of the University of
Southern North Dakota at Hoople.
Schickele's dream to lecture on his find
in Chapel Hill was realized Sunday when
he presented a most humorous concert in
Memorial Hall w ith three other members of
the Semi-Pro Musica Antiqua: John
Ferranted (bargain-counter tenor), David
Oei (keyboardist), and William Walters
(stage manager and chorus). Schickele's
work has yet to receive accreditation from
the American Society of Chiropody..
PDQ Bach is already believed to be the
most prolific composer of March 1 792. Few
people know he received his inspiration from
trips to the Munich Zoo, where he
communed with an emperor penguin, which
he believed to be the reincarnated spirit of
Mozart.
From this period come the great "Erotica
Variations," in which Professor Schickele
demonstrated sprightly virtuosity on
windbreaker (a series of mailing tubes),
foghorn and balloons.
That brief moment of inspiration also
produced the "Toot Suite in C minor" for'
calliope four hands, from which the
profound "O. K. Chorale" is taken, and the
opera Rossini labelled "the zenith of
cacophony," Schickele's "Hansel and Gretel
and Ted and Alice." Schickele's crew
performed all these pieces with wild abandon
and a harpsichord.
The surprise of the evening was the
unveiling of the lost "Diverse Ayres on
Sundrie Notions," composed during
PDQ Bach's tenure as a salesman of
patent medicines. These tunes revealed him
to be the originator of the singing
commercial and are sure to make him
famous as a man capable of soothing
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Staff photos by Howard Shepherd (lower left and upper right), Margaret Mm (upper errj ana oeorge oacso (lower ngnt).
This week offered music lovers a wide variety of performances, (upper left), the Jazz Lab Band and drummer Scott
including the Scholarship Benefit Concert featuring the UNC McLaughlin (upper right), PDQ Bach (lower left) and Joni
Symphony and violinists Kay Tuttle and Penny Schwarze Mitchell (lower right).
stomachs as well as making them queasy.
Schickele has said he will never cease to
proclaim the greatness of P D Q Bach till
the least famous son's picture hangs beside
his father's in the Klopsberg Beer Gardens.
We wish him luck.
Scholarship Benefit Concert
featuring the UNC Symphony, Feb.
10 at Hill Hall reviewed by
Lawrence Toppman
Many readers tend to devalue negative
reviews of student productions by saying,
"You can t be too hard on them. Remember,
they're only students." After the Scholarship
Benefit Concert Tuesday night by the UNC
Symphony and five of the music
department's top soloists, that excuse won't
hold water.
I was most pleasantly startled by the
orchestra, which responded eagerly to David
Serrins' tart, quick direction. The lushness of
the strings and the crisp biting tone of the
reeds kept the ensemble sections from ever
becoming dry or dull. Though there was an
occasional difficulty in integrating the
orchestra's components the horns blared
dominantly at the wrong moments Serrins
and the orchestra generally stayed in their
place, allowing the soloists to show what
H
LATESHOWS
Fri.-Sat. 11:30
'THE PRIME OF MISS JEAN BRODIE"
Woody Allen's
"TAKE THE MONEY AND RUN"
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they could do.
Each soloist opted for a piece full of rich
tone coloring and brav ura: piano concertos
by MacDowell and Prokofiev, a trumpet
solo by Arutunian, and light opera by
Massenet, Charpentier and Gounod. While
these had the freshness of coming to us
almost new, the effect was rather numbing as
they piled one upon another.
The lack of variety is a minor point,
however. When these students and the
orchestra add a bit of versatility and polish
to the broad base of their competence, they
will be a rare treat to hear. Though they are
"only students," these musicians need no
excuses.
UNC Jazz Lab Band, Feb. 8 at Hill
Hall reviewed by George Bacso
The UNC Jaz Lab Band primarily plays
contemporary jazz, combining a modern
day rhythm section, consisting of electric
piano, electric guitar, bass guitar, drums and
percussion, with the traditional brass of the
stage band.
Last Sunday's concert consisted chiefly of
tunes by David Teagueand Les Hooper, two
lesser-known but competent contemporary
composers. Teague's work made up most
of the first half of the program. "Spring
Morning," a Chick Corea-like piece,
featured Lee Davis on trumpet. Davis',
extended solo, mainly scalar runs with lots of
drops, was one of the better solos of the
afternoon.
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Shows:
Friday, Feb. 13
Saturday, Feb. 14
!
4-
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"Renee," a light, uptempo tune with a
Latin feel, saw trumpeter Clay Sims prov ide
a sassy melody which enabled several other
horn players to improvise greatly on his
changes. "If" featured Andy Ratoff on alto
sax. soloing during this slow ballad vsith
great feeling and excellent phrasing.
The Jazz Lab Band ended the first half of
its concert with a new arrangement of "When
the Saints. . . " Sounding like a modern Stan
Kenton chart, this version was full of time
changes and volytonality - the listener
almost had to strain to recognize the familiar
melody of this high volume piece.
Despite a weak introduction and a bit of
hidden Dixieland, "Blue Orleans" turned
into a good funk tune. Hooper's "Softness"
was a marked contrast, with Dave Robinson
playing a muted trumpet, backed by a chorus
of five flugelhorns.
After a few more numbers, the Band
concluded its show with Hooper's "Skin
Tone," an uptempo piece arranged as a
showcase for the band's new drummer Scott
McLaughlin. Called back for an encore, the
group performed another Teague
composition, "Ruth."
The Jazz Lab Band not only produces
good, modern stage band jazz, but is a
delight to watch as well as hear. Director
John Harding's verbal give-and-take with
members of the band results in a warm,
relaxed atmdstpteCicnSiOfSJfily,
transmitted to the audience in the group's
music. Harding and the band obviously
enjoy performing almost as much as their
audience enjoys hearing them play.
off its
Film Series
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