The Daily Collegian Friday, August 6,1976
railer
Music of royal Europe a delight
Americans, never haying had a royalty to call their own, are,
always eager to share in' the courts"
history. The manners, morals and diversions of kings and
queens entertain Americans in a way that the presidency
never could.
The musjc of Europe’s rulers was heard once again as the
New York Renaissance Band played selections that had en
tertained royal courts in the Middle Ages. Using instruments
of the period, many of which were copied from pictures of the
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NE HUNDRED EAST COLLI
This relief print from artist Charles Battaglini’s 1975 Truck Series is among the worl
shown in the Museum of Art through Aug. 22. The painting’s name? High Trailer.
THE
OFFICIAL
PENN
STATE
CLASS
"NG
by Jos ten s
AVENUE
time, the five-person band played selections from the
•Netherlands,' France, -Italy, -Germany r *Austria r and Eliza
bethan England. '
Each country had a distinct mood that dominated its music.
The French pieces evoked a pastoral air, conjuring up images
of- green forests and small villages. The Italian music was
much 1 harsher, with an almost Middle Eastern tint to it. The
Austrian music, heard in the court of the melancholy
Marguerite, was sad, nearly tragic. The Germans, on the
other hand, listened to lilting pieces, sometimes almost comic
in nature.
The musicians were as varied as their music. Lucy Bardo
rocked forwards and back, in and away from her viol. Allan
Dean would lay his recorder alongside his cheek and close his
eyes, dreamily listening to his companions. Guest Artist Ben
Peck tossed his head defiantly on the faster selections and
silently mouthed .the notes on the quieter pieces. Sally
Logemann sat rigidly, only moving her deft fingers across her
instruments. Ben Harms moved his arms in land out, un
derscoring,the percussion. 1
It was the instruments, however, that were the stars of the
show. Ancient in form, fresh in sound, their bizarre shapes
and sounds captivated the audience. From krummhorn —sort
of a combination between a kazoo and an umbrella to sack
but a sleek trombone the instruments, aided admirably
by the musicians who played them, brought a little of the glory
of royalty to modern America
Fresh Sea food, Swiss Fondue
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By KATHLEEN PAVELKO
Collegian Arts Writer
S’Wonderful, S’Marvelous,
S’The American Musical. '
“Yankee Doodle Tune,” a
lively musical revue at Kern
last night, features 12
talented performers in a non
stop singing celebration of the
American musical theatre.
Beginning with “After the
Ball,” (from “A Trip to
Chinatown,” 1890) and ending
with “Send in the Clowns,”
(from “A Little Night
Music,” 1973) “Yankee
Doodle Tune” is a song
history of the American
theatre.
Compiled and directed by
Mary L. Hauptman, a
graduate student in theatre
arts, “Yankee Doodle
Tunes’ ” whirlwind succes
sion of solos, duets and foot
stomping ensemble numbers
is enough to leave the
audience breathless but not
the singers. The ballads, sung
sweetly and straight, are
mixed right in with the
raucous shows-stoppers and
the effect is joyful and
charming.
It is almost unfair to single
out any single member of
Hauptman’s fine cast, but
Jessica McNall’s rich voice
and Lowell Manfull’s
professionalism demand
special mention. Look for
Manfull and McNall in the
humorous duet from
“Camelot,” “What Do the
Simple Folk Do?”. Roy
Grodsky and Julia McKin
stry’s duel-duet, “Play a
Simple Melody,” is also great
fun.
“Yankee Doodle Tune” is
the result of ah independent
class project for Hauptman,
who began compiling songs in
mid-May. Eighty-five songs
were originally selected for
the revue, but Hauptman
eventually reduced that
New music
Brecker boosts brass-rock
By RICHARD HEIDORN JR.
- - • - • ----Collegian Arts Writer
When Bob Dylan shocked the Newport Folk Festival in 1965
by bringing an electric guitar onstage, he provided a con
venient cornerstone for what came to be known as folk-rock.
As he was booed off the stage, he learned a lesson that con
fronts all innovators: purists are normally the last to embrace
new hybrid musical forms, especially when their beloved
music (in this case “socially conscious” acoustic folk) is fused
with something so vulgar and hedonistic as electric rock.
Similar growing pains have accompanied the arrival of
another hybrid form brass-rock, the amalgamation of the
big band tradition and contemporary popular music whose
influence is becoming increasingly pervasive but which has
yet to emerge full blown as a style in its own right.
Among the jazz faction, reaction to brass-rock has ranged
from benign neglect to outright exploitation. Real purists
don’t consider the style at all related to their art. Others, more
opportunistic perhaps, recognize that the invigorating
commercial success of the form has created a potential
audience for more improvisational jazz among white middle
class college students where none existed before.
Not surprisingly, it has been die-hard rock fans that have
reacted most disdainfully to the fusion. Opposition in this case
is less ideological and more aesthetic than that which greeted
folk-rock, however.
There is a delicate balance that must be struck to make
lyrical music work with brass; more often than not, the brass
drowns out the vocals or the vocals intrude on the in
strumentals.
Blood, Sweat and Tears, one of the first groups to try to
iT?<
SUMMER TERM -197(6
Due to the small number of conflict
examination requests filed, no schedule
of such examinations will be published
in the Collegian for the Summer' Term.
Department heads have been advised of
the time and place of meeting of conflict
examinations in those cases in which
such an examination was required. In
structors will be asked to announce con
flict examination times in class.
number to the present 63. “It subject. - Hauptman has
was like murdering my directed community theatre
children,” she says. Feeling (she has a BA. in theatre arts
guilty about not including from George Washington
every great song, Hauptman University) and has sung for
compromised by constructing five years with the Penn State
the -overture from the ex- Choir. According to Haupt
cluded material.' The man, “Yankee Doodle Tune”
‘‘rejects’ ’ include: developed naturally from her
“Cabaret,” “Tea for Two,” love, of the-musical theatre.
“The Impossible Dream,” An interesting sidelight: the
and “Lost In the Stars.” advisor for Hauptman’s
There is blessedly little project is Lowell Manfull, an
dialogue in the show associate professor of theatre
Hauptman believes the songs arts at the University and a
are most important. With “Yankee Doodle Tune” cast
tunes like “Can’t Help Lovin’ member.
That Man,” “I Got Rhythm,”
and “Send In the Clowns” Although all the songs in
who needs dialogue? “Yankee Doodle Tune” are
“Yankee .Doodle Tune” winners, some of the musicals
reflects both the director’s they originally graced were
expertise and her love of the not. Who has since heard of
'Lifeguard' a soggy film
'
for mind of 16-year-old
“Lifeguard” is “Beach
Blanket Bingo” all grown up,
a PG-rated fantasy for the 16-
year-old mind. The lifeguard
(Sam Elliott) is 32 and facing
a mid-life crisis: should he
give up the carefree beach
life for the lot of. the
respectable car salesman?
This soggy saga seems to
have been shot through the
eyes of a teenager: except for
the bronzed Elliott, everyone
over 30 is bald, fat or a crass
sell-out to the establishment.
The lifeguard’s 15th class
reunion is a gathering of 32-
year-old grotesques.
“Lifeguard” is, however,
an accurate re-creation of the
16 year old’s dream: the
gentle older man willing to
take a young girl seriously.
style a hybrid
r —“
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Rick, the lifeguard, is
wooed by the misty-eyed but
nevertheless determined
Wendy (Kathleen. Quinlan).
Wendy’s big moment: she
tells Rick, “I’ve wanted to
make love with you ever since
you bandaged my finger."
After that startling line, Rick
succumbs reluctantly, of
course.
Elliott, for his part, talks in
song titles: “Enjoy being a
little girl,” he says to Wendy,
“you’ll be a woman soon
enough.” Rick’s font of sandy
wisdom is evident , from the
film’s first line: “Only place
joggin’s gonna get ya is right
back where you started.”
Heavy.
Rick’s only alternative to
the barely-pubescent Wendy
make a go of brass arrangements within the rock main-'
stream, hit this balance,early, and has rarely regained it since'.'"
Their “Chjld Is Father To The Man” album made use of
the talents of A 1 Kooper to come up with one of the few classics
of the genre, “I Love You More Than You’ll Ever Know.”
Since then nearly all of the original musicians have jumped,
ship and BS&T has drifted away from the bluesy feel that'
made that album a success. With the emergence of groups like'
Tower of Power and the continued success of Chicago's
homogenized sound, BS&T has been left behind: their most
recent records sound like a polka band trying to do the Rolling
Stones.
One of the original members of the group, trumpet
Randy Brecker, is back with an album that might go a long
way toward raising brass-rock to something beyond a bastard'
The Brecker Brothers’ “Back to Back” (Arista 4061, $6.98
list) shows a brass-oriented group that doesn’t play as if It
were paid on their decibel output. There is little flash on this
LP, just well-produced and arranged music that is hard not to
like. p
The opening cut, “Keep It Steady” is a disco number, but
one performed with more taste and integrity than just about
any of the slush heard on the radio. Thankfully, they don’t let
the entire album fall into this mold.
“If You Want To Boogie Forget It,” is hyper-horny funk
doesn’t quite make it but is kept afloat by the superb
musicianship and drive of the band.
The band is at the top of its form in “Lovely Lady” and “I
Love Wasting Time With You,”- gentle songs with strong
melodies where the horns and vocals truly complement each
other, creating a mood neither could evoke alone
“Nightflight” is an instrumental tune that starts off ten
-tatively, sounding like a cross between Stanley Clarke and
Herbie Hancock circa “Headhunters,” but builds in spite of its
inital lack of pacing to become the cooker of the album.
The band fares less well with “Dig A Little Deeper,” more
Caucasian soul that would be better left to the Average White
Band. The song is as refined as the rest of the album but the&
rhythm is too weak to move the band and the song collapses
under its own weight.
Saxophonist David Sanborn of the Brothers has released a
solo album as well. “Sanborn” (BS 2957 Warner Bros.) doesn’t
have the benefit of the consistency of the material on his pre
vious album, “Taking Off,” but shows nevertheless the
of probably the most sought after saxophonist around. 9
Highlights include “Smile,” aided by lyrics from Paul ;
Simon and background vocals courtesy of Phoebe Snow, and '
“Concrete Boogie,” which has one of the few memorable'
melodies on this album, which is distinguished only by San> lv
born’s improvisations.
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“the Cat and the Fiddle” or
“Forty-five Minutes from
Broadway”? the songs
and the singers are trie,
heart of “Yankee Doodle
Tune,” although I would be
willing to put in a mention for
the revue’s use of placards/
and the fine piano of Pam
Wissinger. ,
The final performance
“Yankee Doodle Tune” is at 8
tonight in Kern. Apple pie and
ice cream, are offered at
seven. The revue’s title is
taken from George M.
Cohan’s 1903’s production,
“Mother Goose,” an otheit
wise mortal musical. But
George said, “I want to hear a
Yankee Doodle Tune,” and I
agree.
t
is his old high school,
sweetheart, Kathy. Kathy'
works in an art gallery and
lives in House Beautiful. But
Rick, who lives in an apart
ment decorated in Early
American Ugly, is not sure
they can make it together. \
The teenage girls in the
audience Wednesday (for’
whom this film was obviously ■
intended) did not like Kathy
at all. They were rooting for
Wendy to get the guy.
I wasn’t rooting for .Wendy;
or Kathy or even the hand-;
some Rick. I was rooting for'
the star of “Jaws” to appear,
to liven up the limp
lifeguard.” At the Garden!
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