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Page Six

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COLLEGE NEWS

Spercereyeeerenss esters



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April 9, 1965



Skinner Site of Arts Night, Ellington, Count Basie Go "Pops’-
New Albums Mainly for Old Fans



Alice Lieb and Andrea Stark in a Dance Club presentation for

Arts Night.

The Bryn Mawr Arts Council, in
conjunction with Haverford, ispre-
senting its annual Arts Night this
Friday night at 8:30 in Skinner
Workshop. The program, as out-
lined by Arts Council / president
Margaret Edwards, ranges from
music to dance_to drama in various
talent routines.

The Haverford-Bryn Mawr Ren-
aissance Choir under the leader-
ship of Edward Hasard will do a

To Include Music, Drama



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SILVER
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medley of fifteenth and sixteenth
century Elizabethan Madrigals.

Jane Robbins is performing, an

original play in three pieces, ‘‘Bats
in.the Belfry,’’ whichwas published
earlier this year in the 1965 edition
of the Bryn Mawr Revjew. :

Becky Millard; a freshman, will
perform a flute solo of either
Sonata, for flute and piano by
Poulenc or Sonatine for flute and
piano by Dutilleux. She will be
accompanied by Anna Norberg at
the piano.

The Modern Dance Group under
the direction of Alice Lieb is pre-
senting three dances. One is ajazz
piece performed by Alice Lieb and
Andi Stark to Vince Garaldi’s Cast
Your Fate to the Wind. Toby
Williams is doing a number chor-
eographed by Mrs. A, Mason,
modern dance teacher at Bryn
Mawr, to Wild Strawberries by
Mariam Mikeba. Andi Stark and
Alice Liebwill be joined in the third
number by two Haverford grad-
uates, Rick Carson and John Aird,
in a dance choreographed by Alice.

Robert Heyman, a student at
Haverford completes the program
with a reading of his original poetry
to a guitar accompaniment,



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Reprise records have released a
new Duke Ellington album:
ELLINGTON ’66, The record label
reads -like a recent hit parade
list, representing a cross-section
of today’s popular music. While
imitation may be the sincerest
form of flattery, it does not always
make for good jazz, This album
suffers from some of the in-
evitable indecision in choosing be-
tween revision and recreation.

The Ellington orchestra flatters
The Beatles, Henry Mancini, and
Barbra Streisand, in turn, It is
an interesting combination, and
a unique experiment for the Duke
who generally prefers to record
his own compositions, (Only two
of his are included in this selec-
tion.)

Strangely, the Beatle songs come
off sounding best. The arranger,
Billy Strayhornm, shows consider-
able imagination in his version of
**All My Loving’? and ‘*I1 Want
To Hold Your Hand.”? These cuts
acknowledge the existence of a
talented drummer who is largely
inconsequential for most of the
album.

The other exceptional cut: is

“Moon River.’ Although this tune
has suffered the various indigni-
ties of earlier arrangements,
Ellington has restored its dig-

nity. This version swings, yet is
saved from too brassy a sound
by a subtle. melancholy under-
current,

It is unfortunate that these ex-
ceptional cuts are surrounded by
a mediocre sound that frequently
sounds too much like Lester Lanin
to be good jazz.

Count Basie, originally of the
Carnegie Hall school of the 1930's,
was a master of swing. He was a
prominent musician during the big
dance band era of Goodman and
Glen Grey. Unlike -many of his con-
temporaries, Basie was one of few
jazz musicians able to make asuc-
cessful transition to progressive
jazz.

In his new Reprise album, POP
GOES THE BASIE, the Count dis-
plays his ability to combine pops
and original and still come out with
a very appealing sound. Perhaps
the name for his music is ‘cock-
tail jazz.’ It provides~the right
background for a party, good mu-
sic for dancing and a good sound
for listerfing, e

Bill Byers, who wrote the ar-
rangements for POP GOES THE
BASIE, succeeds in including a

_ variety of tempos which bring out

the varied talents of the band,
Basie rhythm is good. But the as-

Religion in the Modern Novel
Subject of Interfaith Lecture

Professor Joseph Brennan spoke
on ‘*Religion in the Contemporary
Novel,’’? as part of the Interfaith
Lecture Series, Wednesday night
in the Common Room, —

Professor Brennan opened by
criticizing superimposition of re-
ligious symbolism on the novel’s
part. For instance, Joyce in
FINIGAN’S WAKE, represented the
14 stations of the Cross by the
14 stops of a beer barrel wagon.

This kind of symbolism was
very effective when first employed

‘ in the thirties, but today it is

ta flash of nostalgia in -an ag-
nostic culture.’’ Happily, the
method is finally dying.

Most novels are not religious
works. Books like James’ THE
AMBASSADORS are ‘neither re-

- ligious nor irreligious,”’ although

they may use religion as a back-
ground. Of course, BEN HUR and
QUO VADIS have been written,
but they ‘‘turn rather easily into
sword and spear. epics.’’

The most important book ever

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written in this country was a re-
ligious novel. UNCLE TOM’S
CABIN’s ‘‘aimost Balzacian char-

acters move in a religious back-’

drop.’’ Tom even has a vision
on Simon Legree’s property of
Christ crowned with thorns.

Since Mrs. Stowe’s book, re-
ligious novels have tended to be
anti-clerical revolts. This.theme
continues that Christ, if he were
to return, would be crucified once
more. Dostoevsky’s THE GRAND
INQUISITOR is the most erudite
example.

This theme is visible today on
Broadway in THE DEPUTY, the
story of a **‘*good Jesuit’ against
a sinful Pope and fat Cardinals.’’
It has become an expected cliché,

The expected cliché. has been
the downfall of other authors.
Faulkner, in his novels, frequently
says the expected platitudes. His
acceptance speech for the Nobel
Prize was filled with ‘‘fine sen-
timents,’?’

Francois Mauriac is an impor-
tant religious novelist, although

“actually more a theologian. In
DESERT OF LOVE, about a wom-
an’s simultaneous love. affairs with
a. doctor and his son, this love
for individuals shows that God
is earth’s immortal desire.

pect of the ‘‘old time’? Basie which
really stands out in the pops ar-
rangements is the instrumental
solo work, The instruments are
highlighted and combined with each
other ina ‘bright and brash’’ style.
The Count’s rendition of ‘*Walk
Right In’? combines guitar, bari-
tone sax, and trombones in a way
that leaves no room for doubt as
to his greatness.

Al Grey throughout the album
makes his trombone wail and sing.
His use of the plunger is reminis-
cent of the 1920’s and the early”
Duke -Ellington orchestra. With
little difficulty, however, Al makes
his plunger effect sound right at
home in the Basie arrangement of
‘‘Call Me Irresponsible.’

Count Basie must be considered
as a combination of old and new
jazz. He had an appeal and a style
in the 30’s which he wouldn’t give
up. His pops has a definite taste
of old time jazz in it. Those who
strictly want progressive sounds
may not find POP GOES THE BAS-
IE colorful enough. But those jazz
enthusiasts who recognize and ap-
preciate old time jazz as well as
progressive will find POP GOES
THE BASIE just right. G.S., H.S.

Chorus Will Give
Library Program
Of ‘Lamentations’

A small group of Bryn Mawrters |
under the direction of Gill Bunshaft
and sponsored by Interfaith, will
present a choral ‘concert in the
main reading room of the library
Sunday, April 11, at 12:15 p.m.

The program will consist of ex-
cerpts from ‘‘The Lamentations of
Jeremiah,’ the text of which is_
derived from the’ biblical book by
the same name, They are tradi-
tionally sung at matins of the
Catholic mass the last three days
of holy week.

A small instrumental ensemble
(bassoon, French horn and two
flutes) will accompany the voices |
in the first excerpt, composed by
Jean Matelart and Cristobal de
Morales in the 16th century. The
second excerpt the group is per-
forming was set to music by Clau-
din de Sermisey (1490-1562), The
third excerpt is a.soprano duet
composed by Francois Couperin
(1688-1733),

Pat Pastore and Cynthia:,Walk
are the soloists, accompanied by an
organ and cello.

Experts believe that THE LA-
MENTATIONS have been sung (or
chanted) since their Jewish origin
in 587, B.C. The chants were
adopted by the early Christians;
late 15th century musiéians were
the first to set them to poly-
phonic music.





Stop at the next corner!

That's where the phone booth is. Call home—both of you—and tell your
respective parents that, despite the rigors of academic life, you are bearing
up. They want to know,

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