scarlet Ind euct photo by Doug nrlsey

Young, outed and Black, the campus gospel choir, performed in Roberts
Theuter Sunday in two beneﬁt concerts for the Martin Luther king Schol~
airship Fund. The pertormances were marked by colortul regelia and n

modern dance sequence.

Quartet To Finish Bartok Cycle

(OCR)--The Manhattan String Qu-
artet will complete its two-part
presentation ot The Complete Bar-

OLIDAY SCHEDULE

more will begin broadcasting
on a revised schedule begin—
ning next Wednesday through
December 19 from noon until
4 a.m. Broadcasting for 1973
Will terminate at midnight and
will resume in [974 on the af-
ternoon of registration, Sunday,
February 3.

tok tomorrow at 3:00 pm. in South
Lounge,

Three quartets will be played: Que
artet N0. 3 (1927), Quartet No 4
(ma), Quartet No. 6 (1941).

The three quartets will be examv
ined at a lecture set for 2:00 p.m.
tomorrow in Room 106 of the Fine
Arts Center.

Composed of violinists Eric Lewis
and Mahlon Darlington, violist An-
drew Berdahl, and cellist Judith
Glyde, the Manhattan String Quar-
tet is in residence at Grinnell Col-
lege.

What’s A Burial) ?

BUNAB, s a concertofmusic,dan-
ce, and theater will be presented
in the dance studio of the Fine Arts
building at 8 pint. Monday. As well
as being totally student—produced,
BUNAB will include student com-
positions hy Steve Mitchell, Elliot
Lewis, Linda Greenberg, Jane Ka-
han, Glenn Myrent and Wendy Oli-
ver.

The program involves mainiy con-

KNXTS.
...custom»blocked.

W lint mums
ELAUNDKIHS

lOier/Z Broad st.

Road Service

an nann

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236-7160 SIXTH & WEST

GlASSES
Made and Repaired
in Our Laboratory

Contact lenses

Cases and
Solutions

EYES EXAMINED
Phone 236-7502

EJ. Jonson, 0.0.

OPTOM ETRlST

Across from Post Office
Closed Thursday p.m.

and Sat. p.m.

temporary art torms, but varies
greatly within that context. The
concert gets its name trom a han-
dy little device that no one should
be without. There will be a BUNAB
exhibit at the concert Tickets are
available at the Forum desk andthe
Fine Arts onice.

THE GRINNELL SCARLET AND BLACK DECEMBER 7, 1973 PAGE3

 

 

by Sandy Rikoon

Take a wellrknown figure in the
rock world » Jerry Garcia.

Combine him with akeyboardplayr
er whose experience has cometrom
dates with the Billy Williams Band,
Harry Belafonte, Sunny Stitt, and
James Moody . Merl Saunders.

Now, add an electric bass player
and drummer with roots in white
electric blues v John Kahn and Bill
Vitt.

For environment, we’ll use the
Keystone, a small club in Berkeley,
California, and just so nothing goes
terribly wrong we’ll givethem three
years on and on, jamming as a group.
What do you get?

Well, simply stated, you come 0“
with a multi—varied tempoed album
that contains a fine blend of main-
roclt, a moderate amount of blues
and a little bit of jazz. Live lat
Keystone (Fantasy 79002) is not a
totally brilliant album, but this two
record set contains some amazing
music, (some surprisingly structur
red) largely due to the obvious
super power in the group, Jerry
Garcia. Let’s go through the album
and briefly try to sort out the var-
ious tracks.

Side One opens withaninstrument—
al, “Finders Keepers,” which al-
though not badly done, is not indi—
cative or the quality soon to come.
Just check this one off as a Garcia
tune-up with the other threeassum-
ing what will become a place in
the background. The next track,
Dylan’s “Positively 4th Street,” is
performed just beautifully. Done
nearly at a Dylan pace, Garcia's
vocals and guitar solos would satis-
iy even the most ardent Dylan tans.
Dave Grisman adds a nice touch
with his mandolin to fill out this
well~done Cut. The concluding song,
“The Harder They Come," is a
relatively pleasant, slowrpaced rock
blues cut. Saunders’ organ is a bit
more impressive here, but his still

PIANO RECITAL

(OCR)--Trudy A, Roush, a Grin»
nell music major, will present her
senior recital at a pm. tonight
in Herrick Chapel.

Ms. Roush, a pianist, will play
works by Bach, Chopin, Schubert,
and Satie.

A WORD TO THE WISE»—

We cannot predict air prices for
February; however if you buy a
ROUND TRIP, the price at depar-
ture determines the entire trip
rate. Thus if prices do raise by
the date of your return, a round
trip purchase now will have pro»
tected you from added expense.

GRINNEll TRAVEL CENTER

Pastry makes good presents

DANISH MAID BAKERY

818 Fourth Avenue

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is a largely supporting role.
”It Takes a Lot to Laugh, It Takes
a Train to Cry” is a slowly paced
and very nicely done opening tor
Side Two. Garcia's guitar work and
a good job by bassist Kahn are most
prominent. Garcia seems a surpris
singly good interpreter of Dylan. A
totally cosmic-type jam, “Space,"
comes next and proves to be a good
change at pace. The only “original"
cut on the album, it sutters only
trum shortness (underfour minutes)
which leaves the listener hanging.
The last track on the side, ”It's
No Use," is surprising ior two rea
sons. First, Garcia’s guitar style
is strikingly similar to 5.9. Kings,
and second, there is both piano and
organ at the sametimewhich means
someone’s name is missing trom
the credits (guess who). Allin all,
the song seems to lack unity, ale
though it proves to be Garcia’s best
blues etiort on the album.

Record Number Two, in many ways
the better one, begins with Arthur
“Big Boy” Crudups “That's All
Right.” Garcia’s blues have turned
into a 1971 Grateful Dead 5010 eff—
ort and, although it succeeds well,
a blues enthusiast could easily be
Critical 0! this one. Rodgers and
Hart’s "My Funny Valentine," the
longest track (in minutes) is truly
THE SONG on the album. You might
liken Garcia's guitar rendering on
this famous number tn the way John
Coltrane molded his sax into "My
Favorite Things.”

Unassuming and forever expanding

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and experimenting with various eit-
ects up and down the guitar neck,
Garcia will lock onto the melody
(or a few bars and then there he
goes, slipping us magic from his
own world. For the most part,
Saunders doesn't seem to he as
creative as Garcia. Content to wail
his organ with the melody, he only
occasionally gives us a new musi-
cal riff. His remaining in the back—
ground is surprising, but he does
well in strengthening Garcia’s work.

The fineness of Side Three remains
to a certain extent on the two ten—
minute cuts of Side Four, “Some
day Baby" (Lightin Hopkins) and
“Like a Road“ (Nix). Hopkins' blues
classic has been speeded up, large-
ly due to Saunders’ opening bars,
past the point of achieving its blue-
sy reeling. The entire group is con-
tent with a blues-rock interpreta-
tion, and as tar as bluesrrock goes,
it is done well. if I only wasn’t so
familiar with the original...

The final cut is another Garcia
beauty. What can you say about
THE MAN, his guitar talks to you
and cries out its message with
amazing clarity. A final farewell
to an album that, while not as
creative as hoped, shows the many
sides of Jerry Garcia and for that
reason alone is well worth buying,
or at least giving an honest listen.

By the way, I’m still waiting tor
Garcia’s bluegrass group, 01d and
in the Way, (in which Garcia plays
banjo and Kahn plays stand-upbass)
to release an album.

that do not show their love.”
William Shakespeare

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