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ASBURY PARK SUNDAY PRESS, May 2, 1971 CI 3 Kenlon Reissues Discs Under His Own Label Children Help Archaeologists rimlurv It C. tn.n An. CANTEytL'RY, England century B.C. Iron Age settle 1 1 Archaeologists have enlisted the help of school children in excavating a first to third ment. The dig uncovered huts, storage pits and pottery re-, mains.

It -1 't 1 -r 1 'IF If," i fit IG (few BROOKDALE COMMUNITY COLLEGE THE COUNTY" COLLEGE OF MONMOUTH ill. IG "AV. PUBLIC EVENTS BOARD SERIES "A NEW DIMENSION: MUSIC, DRAMA AND DANCE" ''hi i I r. 1 iv View th new siglitj ond hear the new lounds, avant-garde if you will, of 0 1 FY If Nil BALTIMORE Kenton smiles a lot these days. He does a lot of his smiling in front of what may be the best band he's led in .10 years on the jazz road, and there are equally warm for the reports he's receiving from his "Creative World" record business.

As usual, he's plowing new ground for jazz, particularly among young people. With Kenton, the band comes first and the present one marks a real departure from the often ponderous, thundering ensembles he's led In the past. In a recent, concert for Baltimore's Left Bank Jazz Society (LBJS), Kenton un-leased a rhythm machine that swung as no Kenton orchestra ever swung and a set of scores that ranged from concert fare to blues. The man who makes this band go is drummer John Von Ohlen. Possessed with an impeccable sense of time, he's a relentless percussionist who leaves tho feeling that he could drive the band through a brick wall.

Kenton calls him "fierce." Von Ohlen, teaming with bassist Gary Todd and Latin percussionist Ramon Ipez, pushes the heavy ensemble around as if on ball bearings. Kenton himself still plays the piano fills but more often than not, he's up in front, The band's sound is no sin-gle product in the manner thai Pete Rugolo and Johnny Richards put their personal stamp on the Kenton sound in past bands. Some of the Richards scores are still in the book, and of the arranger, who flied in lS, Kenton says, "I still keep wanting to call him and tell him to come back to work that we need him." Kenton and saxophonist Willie Maiden are the playing writers on tjie band. Maiden lias contributed a blues, "A Little Minor Booze" and a ballad treatment of "We Almost Made It This Time, Didn't We?" among others. Hank Levy, who teaches at Towson State College and also at Catholic University, has a number of concert-styled charts in hook.

"Chiapas" has recorded. "Ambivalence" is one of his older numbers and the band is working up three others. Levy's Tow-son Stale Jazz Ensemble is making a major splash on the college jazz festival circuit. A former Kenton saxophonist, Levy has also contributed heavily to the avant-garde book of the Don Ellis orchestra. Ken I lanna, a former Kenton trumpeter, is back as an arranger, while Bill Holman, Dee Barton and Steve Spiegl have contributed other scores.

Like many bands, thcKen-tonites no longer wear a uni- form There are a number of identical leather vesst around the handstand but the clothes are a matter of individual taste. Unlike recent Kenton bands which have confined their tours to the spring and fall, this band is lined up solidly into the fall and virtually all of the dates are one-nighters. It's a killing grind, particularly for a 59-year-old leader, but his enthusiasm seems to have infected the younger bandsmen. The one-nighler parade is all part of Kenton's "Creative World" package, which is tied up in a revolutionary record marketing idea. Last year, Kenton severed his lies with Capitol Records, for whom lie had recorded nearly 50 albums over a 27-year span.

Only three of his albums were still available the rest dropped from the catalog in favor of the hot sellers of the moment. "It's another case of everything being run on a dollar and cents basis without regard for any value outside of the cash register," Kenton says. "The jack jobbers (distribution agents) ended up running the company. I knew from the people I talked to when the band was on the road that a demand for a lot of our older things was still there, so I decided to do something about it." What Kenlon did was lease the master recordings from Capitol, reissue them on his leading arMts ot radio, televmon, theater and the concert itage, in a uniqu and absorbing display of contemporary talentl PROGRAM F'VOLUTION OF AN ORIGINAL COMPOSITION Wednesday, May 5, 1971 PROGRAM 02: DUO AND DANCE COMPANY IMPROVISE riday. May 14.

1971 PROGRAM 3: ENSEMBLE OF FAMILIAR AND ORIGINAL JAZZ Friday, May 21, 1971 Curtain it 130 m. Rumson-Fjir Haen DejioMl Hijh School, Rumsoit, J. Each program is a theatrical experience, with artists composing ond impro-vising musically, choreographically and dramatically. To obtain tickets, specify the number and types you desi'e. Make check payable to "Brookdale Community For further Information tall the Cultural Affairs Department, 842-1900, ext.

230. CHICAGO RECORD PREVIEWS- STANKENTON of Stan Kenton, and sell them only by mail order. A ritual at each Kenton date is the distribution of name and address cards, which are filled out by the customers and sent off to Creative World Headquarters (Box 35216, Los Angeles 901)35) to swell the mailing list. The recordings thus far have included 20 LPs of vintage Kcnlonia "Collector's Choice," "Adventures in Standards," "The World We Know," "City of Glass," "Adventures in Time." Two new issues are "Live atRedlands University," a double LP of the best scores in the current book, and "Private Party," a pastiche of jazz humor. Chicago Revisited By DON LASS- TO: Cultural Affairs Department, Brookdale Community College, Lincroft.NJ.

07738 for the follow- Enclosed is my check in the amount of ing tickets: SERIES TICKETS: ADULT No. fffi $6.50 Total STUDENT No. (a, $4.50 Total SINGLE TICKETS: ADULTfJo. (w $2.50 Total STUDENT No. (dj $2.00 Total DATE DESIRED pwmsovs miTTQMlOOl) MAM)R f.

94, Moiawon, 564-4220 lunthqnt CeekloNj Dinner NAME PHONE Mini Reviews of Films ADDRESS own label, the Creative World mm -ft dDeemm "rtf MOTHER'S DAY IS SUNDAY MAY 9th at "OCEAN" lfJ IT'S MOTHER'S BIRTHDAY! COME IN AND SAY "HAPPY BIRTHDAY" TO MRS. ROSALIE GENDEL (BUT DON'T ASK HER AGE!) SHE HAS A FREE GERANIUM FOR AIRPORT Slick adaptation of the best-selling novel about crises people face in the air and on the ground. Star-studded cast includes Burt Lancaster, Dean Martin, Jean Seberg, Jacqueline Bisset, George Kennedy, Van Heflin, Helen Hayes, and Maureen Stanleton. Rated (General audiences) I NEVER SANG FOR MY FATHER A moving, sensitive family drama, based on a Robert Anderson play, about a son reaching for the closeness he can never attain with his father. Fine performances by Melvyn Douglas, Gene Hackman, and Estelle Parsons.

Directed by Gilbert Gates. Rated GP (General audiences parental guidance suggested) INVESTIGATION OF A CITIZEN ABOVE SUSPICION A tough, probing Italian film about unscrupulous police practices. A mentally un balanced inspector murders his mistress, then alternates between leaving trails of clues and covering them up. Strong performance by Gian Maria Volonte. Directed by Elio Petri.

Rated (Restricted: Persons under 17 must be accompanied by parent or adult guardian.) LOVE STORY Bring your handkerchief. Based on best-selling novel by Erich Segal about a young couple deeply in love and the bride's death from leukemia. Some may recoil at the soap-opera approach, but others will enjoy a good cry. Ali MacGraw, Ryan O'Neil, John Marlcy, and Ray Milland star. Directed by Arthur Hiller.

Rated G. MASH Elliott Gould and Donald Sutherland head the cast in this irreverent look at a Mobile Army Surgial Hospital unit during the Korean War. Fast, funny dialogue and a scries of preposterous situations end up delivering a serious message about the importance of maintaining a sense of the absurd and of the absurdity of war. Rated R. A NEW LEAF A rich playboy who has lost his money pursues a shy, clumsy heiress with intentions of a hasty marriage and murder.

Enough belly-laughs to carry through the sags in the plot. Hilarious performances by Walter Matthau and Elaine May. Directed by Elaine May. Rated G. PATTON A superb biography of Gen.

George S. Pat-ton, blood-and-guts hero of World War II. Won Oscar for best picture of the year. George C. Scott won best acting Oscar for his brilliant performance in title role.

Karl Maiden gives a fine performance as Gen. Omar Bradley. Rated GP. THX-1138 Science fiction film about some rather flesh-less individuals who battle against society. Thoughtful, with some extraordinary special effects, but somewhat tedious.

Robert Duvall, Donald Pleasance, Maggie McOmie. Directed by George Lucas. Rated GP. TORA! TORA! TORA! Long documentary-type film recreates and simplifies Japanese and American actions leading to the '41 attack on Pearl Harbor. Filming of battle scenes helps but Japanese seem like caricatures.

Martin Balsam, Soh Yamamura and E. G. Marshall head an all-star cast. Directed by Richard Fleischer. Rated G.

TRISTANA A lot of care and talent lavished on a weak story about an aging man, Fernando Rey, who is spurned by a beautiful young woman, played by Catherine Deneuve. Franco Nero plays her lover. Directed by Luis Bunuel. Rated GP. YOU! 1 I i i I James," one that shows more convincingly that Taylor's high place in contemporary pop music is deserved.

While there may not be one song in the album that captures the universal appeal of "Fire and Kain," there are numerous songs that continue Taylor's ability to write lyrics that reflect much about the feelings of these times. In discussing Taylor, it is important to recognize the sociological importance of his music. Like the others dealing in the introspective, soft rock music of today. Tavlor provides a reassuring reaction to the turbulent music of the late 19C0s. Rather than offer the defiance and alarm of the acid and hard rock of the Taylor's music offers a more sympathetic reassurance.

He has gone through many of the same pioblems and tensions as members of his audience, several of his songs suggest, and he shares his feelings: "I've seen fire and I've seen rain I've seen lonely days when I could not find a friend His music is soft rather than loud, personal rather than collective, therapeutic rather than disturbing. In "Mud Slide Slim," Taylor continues in the same introspective theme as "Sweet Baby James," but the songs, on the whole, seem more impressive more confident. There are phrases in each song that are impressive in their ability to convey a maximum of feelings with a minimum of words. Robert Hillburn ENCORE Jose Feliciano (RCA Victor LSPX-1005) If you haven't been introduced to Feliciano, this is the place. It all started with "Light My Fire," a hit for the Doors but a more didtinctive vehicle in the impassoned style of Feliciano, a blind young man with something special in his voice.

Then came a string of albums and singles that proved that "Fire" was no fluke, that Feliciano's style was applicable to a variety of modern tunes, that his guitar playing was as engaging as his insinuating vocal style, that he has a way with an audience that few entertainers of today equal. "Encore" repeats some of his finest performances and biggest hits. It includes two tracks, "Witchita Lineman" and "Life Is That Way," that have not been included in an album before. And it repeats "Light My Fire," the instrumental version of "Malaguena," the soulful "Hi-Heel Sneakers," and Dreamin'," "Nature Boy," "Destiny," "Pegao," "Rain," and "Hitchcock Railway." WILLIAM SCHUMAN: IN PRAISE OF SHAIIN (Columbia M-30112) The death of Roosevelt artist Ben Shahn March 15, 19fift. was a great loss to the world of arts and letters.

To honor his memory a group of his friends commissioned Schuman to write a work paying tribute to his genius and his outstanding contributions to 20th century art. The result is his canticle for orchestra, first performed by the New York Philharmonic Orchestra Jan. 29, 1970. The composition starts with a clarion call to battle, tense, and extensive use of brass and percussion, with strings slowly reducing the strain. There is a pause, then the strings placidly introduce the main theme.

This is repeated at varying levels. Tho brass picks up the theme and then violence erupts and the pace quickens. Each section of the New York Philharmonic plays individually, then overlapping. There is a return to the plodding strain and the final buildup to a finale that restates the main theme, all ending in joyous fashions. Schuman has had previous experience in honoring the great in retrospect.

He also wrote "To Thee Old Cause," an evocation for oboe, brass timpani, piano and strings which was suggested in part by the deaths of Martin Luther King Jr. and Robert Kennedy. That work (Columbia MS-7392) was written on commission to mark the New York Philharmonic's 125th anniversary. On the reverse side of the Shahn album is Elliiott Carter's "Concerto for Orchestra," a fine technical work which was suggested by "Winds," the Nobel prize winning poem by St. John Perse.

It features extensive singling out of all sections and recreates forces of nature at work. There are four movements which stand alone and in contrast with each other. On both the Schuman and Carter works, the New York Philharmonic's exceptional craftsmanship impresses. Miriam Bush CHICAGO III (Columbia C2-30110) Double albums, which are cluttering the record market these days, are often self-defeating. That's the case with Chicago's third collection, which showcases the best and worst of this rock-jazz group's talents.

In 1967, when the band was known as the Chicago Transit Authority, the sound was founded on a complement of brass to support the traditional guitar-plus-rhythm rock sound. But the unit was billed as jazz oriented, which was reaching a little far. Today Chicago is well into jazz improvisation, playing jazz reasonably well and mixing it intelligently with rock. The, group is also reading out to a number of other sources for its inspiration, which makes it far less original than its backers will admit. It looks toward the soft choral sound of the Beatles and Crosby, Stills, Nash and Young.

It mimics John Mayall and others whQ have found the blues an integral part of rock. And it looks toward vintage Stan Kenton and George Russell in its brass passages, which are the most striking thing about the band. Chicago, in other words, plays from a mixed bag, in each case per- forming with skill and polish. What it lacks is continuity and originality. And here it is heading in so many directions that the album is excellent only about half the time.

The best track of all is "The Approaching Storm," which is part of an otherwise pretentious suite called "Elegy." "Storm" is a romping rock-jazz work, built on an attractive line, with forceful solos, the best of which is a guitar interlude by Terry Kath. Kath also excels on "Sing a Mean Tune Kid," which is tainted by a mediocre vocal and Mediocre lyrics written by keyboard player Robert Lamm. "What Else Can I Say?" and "Flight 602" are examples of Chi- cago's leanings. "Mother 2 Earth," a commentary on ecology, is more effective for its trombone interlude (over- dubbed by Jim Pankow) than its lyrics. "Free" is the hit of the LP, a clear message built around the group's brass.

Elsewhere, the instrumental interludes are far more effective than the words, demonstrating again that one record would have a better album made. WAYFARING STRANGER Jeremy Stcig (Blue Note BST-84354) For over a decade Herbie Mann, whose face has become familiar in television ads, has been one of the most popular of all jazz players. Mann is first an entertainer, second an artist, which is the primary reason for his success. Contemporaries realize his artistic shortcomings. Some point to them in disgust.

Others admire Mann for building success on relatively limited talent. But the fact is that he remains popular "in the face of overwhelming artistic competition on his instrument, the flute. Steig, on the other hand, is known only to the "in crowd" of jazz. He is first an artist, an extraordinary flutist, and second an entertainer. His playing is often brilliant, always Interesting.

He deserves to be heard. This is the best example to date of his work, a tour do force that finds him in varying moods playing above the creative bass lines of Eddie Gomez, the understated drums of Don Alias, and, on one striking track, the subtle guitar lines of the gifted Sam Brown. Steig is a tremendously expressive player. At times he is introspective and ruminative. Elsewhere he sets out in an impassioned romp.

His rapport with his sidemen is what makes his music so sound. The title tune, for example is marked by beautifully stated interplay. So are "All Is One" and "Space," where he and Gomez converse alone. In the Beginning" and "Mint Tea" are in a happier vein than the others, with Stcig "talking" above the purposely repetitious lines of Over-all the album sparkles. Steig is twice the player that Mann is.

Now all he requires is the stage presence. And that's cosier said than done. i JAMES TAYLOR AGAIN. Even though hc expectation level among James Taylor's is going to be extraordinarily high after the success of his "Sweet Baby James" album, his new album seems certain, in most 'ways, to live up to that expectation. In fact, Slide Slim and the Blue Horizon" (Warner Bros, 25(H) is a more consistent, more impressive album than "Sweet Baby NEW IMPORTED LUXURIOUS "STRASSER" SPARKLING BEAD FIXTURE REG.

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