—The Daily Collegian Jazz fans on the rise Interest spurs programs By PETER KING 'Collegian Staff Writer Amidst a rising interest in jazz in the State College area, Jazz Week '76 was off and running yesterday. The week-long event is being sponsored by the Penn State Jazz Club and the Graduate Student Association. Many other organizations are par ticipating, including the Black Cultural Center, the Jazz Dance Theatre, Colloquy, the University Readers, and HUB. • Except for a performance by Keith Jarrett's quartet, everything is free. Since there is no Festival of Life this year, Jazz Week '76 should be the biggest musical hap pening in State College for quite a while. Dan Malloy, president of the Jazz Club, explained some of the blood, sweat, and tears that went into. the organization of this large scale event. The first problem was money, of which the Jazz Club had none. The Jazz Club decided to shut down its record co-op in order to free its restricted funds for Jazz Week. A detailed plan had to be submitted to Associated Student Activities in order to obtain funds. ASA accepted the plan, allocating a sub stantial sum to help finance the proceedings. One of the Jazz Club's stickiest problems involved the Daily Collegian. An ad- Jazz Week events continue Monday Noon jazz music an thology, Kern Lobby; —videotape, "Mon- treaux Jazz FestiVal," HUB Lobby; 3 p.m. jazz workshop, "Landmarks of Jazz", 101 Kern; Tuesday Noon jazz dance, HUB • Ballroom; 12:30 p.m. jazz concert, "Cosmic Minstrels", Kern Lobby; 8:00 p.m. jazz ca feehouse, 301 HUB; ' Thursday • 11:00 a.m. to 3 p.m. jazz workshop; `•`Third Strealia' 'HUB eQk.) . CHEFS & COOKS , . . . . .cATIGH are you looking for a SUMMER JOB? Experienced help needed to v7poco work at girls summer camp near Waynesboro, Pa. Must be ' able to cook for 240 people. ~ Must live in for the summer. Good pay for a six day week. References are required. Write. • Camp Office, 2531 Farringdon Road, Baltimore, Md. 21209. On Epic Records and 'Tapes rt /S `CPC" WOG PIG 0 1976 CU INC PEACE CORPS Recruiters'wll/ be on campus April 5, 6 & 7, 1976, conducting interviews with interested candidates. Please register now at your Placement Office for an appoint ment with us. We'll be happy to go , over the many opportunities available with volunteer service in the PEA CE CORPS. SPECIAL VALUE $5.99 25 Black and White Wallets * includes copy negative * DAN BRODY STUDIO 106 S. Fraser St. 237-6708, Offer ends April 26, 1976 25' i************************* COUPON GOOD ON ANY MACHINE *C * O )1 U *P * * 0 *N * W147/ME U.0.A..., Valid on Monday, April 5 N ONE PER PERSON *************************l2L Monday, April 5, 1976 vertising contract taken out by the Jazz Club last year had never been paid for, and the club was heavily in debt to the Collegian. The Collegian refused to run any ad vertising until the bill paid. It was paid Friday. Keith Jarrett's quartet presented a different sort of hassle. Normally a band from New York booked to play in State College will fly to Pitts burgh, and take another plane from the Iron City to Penn State. However, Charlie Hayden's double-bass got in the way. He was afraid the bass would not survive rough handling in flight, and the group would not perform unless the contract stated that they could fly to Williamsport and be picked up and driven the rest of the way. hat's not the only hot water that GSA and the Jazz Club have gotten themselves into. A W.C. Handy exhibit, featuring photos and scores of the old master, was to be delivered to Kern from the Institute of Jazz Studies at Rutgers University in New Jersey. Last Thursday it was learned that the Teamsters Union was out on strike, and Larry Zuleba of GSA had to truck down to Rutgers and pick up the stuff himself. Jazz Week was prompted, in part, by the growing popularity of jazz at Penn State, part of a nation-wide trend. Exactly what jazz is, Lounge; 3:00 p.m.'— jazz workshop, "Modern Trends in Jazz", 101 Kern; 8:00 p.m. poetry and jazz, "Dark Side, Light Side and Something in Between", 112 Kern; • Wednesday 10:00 a.m.-4:00 p.m. stereo jazz, Robeson Cultural Center; Noon Videotape, "Montreaux Jazz Festival", Kern Lobby —noontime jazz films, HUB Assembly Room; 7:30 and 9:30 p.m. Co mmonsplace ,Theatre,, , "St. Louis Blues", 112 Kern; ;---I however, is not easy to define. Miles Davis hates the term, calling it a "white man's word." And jazz has in corporated so many other styles over the years that it is difficult, and perhaps un necessary, to try and categorize it. Nevertheless, the merger of more traditional jazz forms with the beat, electronics, and volume of rock is largely responsible for its renaissance. There are some heated differences of opinion on this new approach. A worker at Discount Records claimed that the new interest in jazz only extends to the "rock-jazz" of Herbie Hancock, Chick Corea, and a few others. He complained that older styles of jazz are not selling any better than before, and he argued that jazz is "no longer an art form, but a pop idiom, and that's what sells." Dan Malloy sees things very differently. He believes the new jazz is "not a bastardization. I just call it music. Jazz is like an amoeba, it's so loosely structured, you can do any thing with it. Jazz is always looking for new directions to expand in." He also.sees interest in jazz expanding somewhat into older forms as well. "If you get new people to listen to it, chances are they'll like it. There are so many different kinds of jazz that there's Noon jazz for 'lunch Kern Lobby; • 12:15 p.m. Dixieland concert, HUB Lounge; 7:30 and 9:30 p.m. Commonsplace Theatre, "St. Louis Blues" 112 Kern; 8:00 p.m. Keith Jarrett in concert, Schwab, admission; Friday Noon videotape, "Preservation Hall Jazz Band", Kern Lobby; —jazz clinic with "Si • lent Way," HUB Lounge 8:00 p.m. jazz cof feehouse 102 Kern. ************************** * * * WIN A GOLD MEDAL . t * -7. * -or OLYMPICS FOR * -or * * FRUSTRATED ATHLETES d _ )f 4( Ar * * * sponsored by USG Bureau of Women's * .* Jr .* Concerns and Association of * -* Women Students * . 4( ,, Test'your skill, agility, strength, and speed in our : * lk Mock Marathon through campus ' * 4( Anyone interested in planning and entering 4( Meeting Monday, April 5 • 7:30 p.m. * * * 215 HUB A.W.S. office * * * * • program may be dropped if no interest is shown * ************************** * C O* u* something for everybody." "Everybody" includes the students who attended the Eric Kloss band's concert yesterday, and they had some interesting opinions. Most enjoyed the performance, and most wanted to hear more. Significantly, they were largely new fans. One girl explained that she had just gotten into jazz in the past year, listening to "some Kloss, Milt, and Miles. I just really like jazz because it's relaxed." Another commented that he "hadn't listened to jazz a real lot, but enough to know I get off on it. It's just so out of the groove of rock and roll it's refreshing." He mentioned that Herbie Hancock and Stanley Clark were the jazz musicians he is most familiar with. In this sort of climate, Jazz Week '76 seems particularly well-timed. There will be a lot of music played this week, covering the entire spectrum of jazz, from .Dixieland to electronic funk. Whether you're an old fan or a newcomer, there should be something you'll enjoy. Here's your chance to listen. Hollywood but fails By LEAH ROZEN Collegian Staff Writer Watching "Gable and Lombard," the new film about the romance and marriage of movie stars Clark Gable and Carole Lombard, is at first frustrating, then maddening, and finally, extremely boring. Clark - Gable and Carole Lombard fell in love around 1937, snuck around for a couple of years while he got rid of his second wife, and married. She then died in a tragic airplane crash in 1942. Despite their almost equal stature with American filmgoers at the time, Gable and Lombard made only one film together, "No Man of Her Own," in 1933. By turning out this hack version of _their *romance, Hollywood :has decided to rectify that situation, not to taitl;Collegian arts techniques succeed over traditional classiCa/sty/es New ballet By PAM REASNER Collegian Assistant News Editor American ballet is a mecca for those interested in the new a dynamic, Martha Graham contemporary style is the kind of dance "we do better in," according to Benjamin Harkarvy, artistic director of the Pennsylvania Ballet. After watching Friday night's performance of the company, I'll swallow that. I hate to think that classical ballet, with lovely tutus , and princess crowns and a stage full of swaying figures is 'going the way of Imperial Russia, but the more modern pieces are the ones that have a feeling and inspiration behind them that is beyond just being polished. "Grosse. Fugue," choreographed by Hans van Manen, was the most im pressive performance of the company, combining many of rewrites history once more reveal real Gable, Lombard mention cashing in on a little nostalgia. The film frustrates the viewer because it teases you into lusting after the real thing. There are ,seenes in the new movie, portrayed as coming from the real lives of Gable and Lombard, which are really stolen lock; stock and barrel from their films. For example, in an early scene, Gable calls up Lom bard, who abuses him on the telephone and then hangs up. He continues talking to her, long after the line has gone dead, for the benefit of his on looking buddies. Of course, the same scene was done much better in "It Happened One Night." Later - -in the film, at a swanky Hollywood party, the guests stage a scavenger hunt. Shades of Lombard's "My Man Godfrey!" the .characteristics of the new modern ballet. Set to the music of Beethoven, the plotless "Fugue" was more a study of the relationships between the four men and four women ,who dance it. The men in their black skirts and belts had roles on an equal par with those of the women. dance review Simple lighting and staging were effective accents to "Fugue's" sustained mood as the dancers perform in quartets, duets and solos. As the music moved into Beethoven's Cavatina. from String Quartet no. 13, 'the dancers paired off and began a very. sensual segment using floor movements and steps that intertwined their bodies in a variety of positions. Next, the viewer begins to get mad at the idiots (screenwriter Barry Sandler and director Sidney J. Furie) who are trying to call the half truths and total falsehoods that dominate this movie the real thing. movie review How dare they? The film is filled with silly and un necessary episodes which never happened. Lombard never saved Gable from a paternity suit, nor did she dress up as a Union soldier to come snooping around the "Gone With the Wind" set to check on Clark. Most of these made-up episodes are pretty much in Such movements as the women being pulled across the floor while holding onto the men's belts and the use of I clenched fists with frequently ' outstretched arms were exemplary of the fusion of modern dance technique with traditional ballet. Because many older people have the preconception that ballet must be classical, the company includes a classical number or two in its per formances, Barbara Weisberger, executive ar tistic director, said. Friday's contribution tothe classical was "Symphony in C," choreographed by George Balanchine. It was pretty and traditional and had its good moments, but was marred by several mistakes and seemed static and lifeless. Harkarvy said companies perform classical ballet pieces because of their value as tradition. character, but the movie is should ever have -to spout billing itself as history, which lines like Lombard's "I'm the it is not. number one star in America, I get $4,000 a week and I've Finally, "Gable and never said - I love you to Lombard" becomes boring. , anyont and meant it." Two-and-a-half hours is a long time to sit through mindless James Brolin, best known antics and hollow emotion. It for his Dr. Kiley role on is almost as if some bright "Marcus Welby," does a good fellow at a story conference. imitation of Gable, sounding said, "Hey, let's make a and looking very much like movie - about Gable and the King. But that's all it Carole." Everybody said it really is, an imitation, not a sounded great, so the film performance. was made, only nobody ever Jill Clayburgh, who plays bothered to think it through the foul-mouthed, fun-loving, before turning the cameras good hearted Lombard, looks on. like Jean Arthur and sounds like Joan Hackett. Given the Sidney J. Furie's ("Sheila script, there is little she can Levine Is Dead and Living in do to rise above the material. the Bronx") direction is Don't bother with this pale unimaginative,_ substituting imitation of the real thing. brightly colored costumes for - Wait for a Gable or Lombard a sense of style. Barry Sand- movie to turn up on the late ler has written one of this, show. Go , see "Gable and year's weakest and most Lombard" only if you must, obvious scripts. Nobody but don't believe a word of it. "But classical stuff should be left to those who can do them like they're supposed to be done." he said, suggesting that subsidized schools that can train classical dancers should perform _ the older pieces. Harkarvy said the company gets just as many letters from those who want to see all modern ballet and those who prefer just strict traditional. "Happily, they balance out and you can do what you want," he said. The other number on the program, "The Four Tem perments," a modern piece, was performed in practice type clothes. it seemed more an exercise in body positions, using unconventional bent elbows and waist and shoulder movements. Though very practiced and polished, it did not have the inspiration that the , con temporary "Fugue" does.
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