The Baltimore Sun from Baltimore, Maryland • 61

Pop beat THE SUN, Sunday, December 1178 Dll Theatre Project plans January dance festival Duet hits prove two's company By ERIC SIEGEL Ittlllllll 1W wmmmimm illlillr pliijP if "mm? ci' If i lAlr -iliJ Jeff Duncan's Impetus Is one of three contemporary dance companies to participate in the Theatre Project Dance Festival, to be held oa three weekends beginning January 4. The Baltimore Theatre Project will present performances by three contemporary dance companies during January, its "Dance Festival Month." Cathy Paine and Friends from Wash-lngton will perform January 4-7, followed by Jeff Duncan's Impetus, January 11-14, and Hannah Kahn Dancers, from New 'York, January 18-21. Each company, in addition to a weekend of performances, will offer Sunday master classes to the public at 1 P.M. at a fee of $5 a person. At 1 P.M.

Sunday, January 28 the Theatre Project's Dance Studio will hold an open house with free demonstrations by Theatre Project dance faculty members. Refreshments will be served, and anyone interested will have an opportunity to talk with the instructors. The open house will begin the studio's Dance Feast," Monday, January 29 through Saturday, February S. During this period, for a 812 fee anyone can sample any number of classes in modern, ballet, belly dance, jazz, African dance, yoga, Tai Chi, disco, movement for children and high energy movement for adults. Once the studio's winter-spring session begins, 26 classes will be given Monday through Saturday each week.

The Theatre Project Dance Studio is directed by Shelley Walpert-Fineman. Instructors include Jeff Duncan (modern), Tabula Adigun (African), David Hender and Joan Norlnsky (disco), Helen Tsigoun-ie (belly), Barbara Starr (yoga) and Shelley Walpert-Fineman (ballet and jazz). For registration Information or for further details, call 539-3091. Museum of Art to close galleries for renovation the first of the year, when It will move to the May Auditorium. Visitors may continue to use the front door throughout the renovation; however, the Wurtzburger Entrance on the east aide of the building will be closed about February 1.

There will be little disruption to either the exhibition schedule or the program schedule throughout this first phase of renovation, the museum said. Temporary exhibitions, though reduced in number and scope, will be located in other galleries. The auditorium will remain open Some galleries at the Baltimore Museum of Art will be closed in preparation for the February beginning of the museum's 812 million renovation program. Among the areas already closed or to be closed shortly are the American Wing, the Benesch Gallery, the Levy Collection of Oriental Art, the Wurtzberger Collection of Oriental Art, the Wurtzburger Collection of Art from Africa, the Americas and the Pacific, and the temporary exhibition galleries in the front of the building on the main floor. The Museum Shop will continue to operate just inside the front door until after It's always a good year for doeti bat 1978 has been very good; Nick Ashford and Valerie Simpson are one example, doing well with their album "Is It Still Good to Ya." A decide ago, they bore names like Simon and Garfunkel, Sonny and Cher and Tammi Terrell and Marvin Gaye.

Those tandems have long since disbanded, but the duet hits keep coming. Leaving aside the pure schlock teams like the Carpenters, the Osmonds and the Captain and Tennille, whose non-talents are perfectly suited to the prime time television slots they so often occupy, this year has been a rich one for duets. Spanalag spectrin) They have spanned virtually the entire spectrum of popular music: from the Top 40 pop of Olivia Newton-John and John Travolta and Barbra Streisand and Neil Diamond; to the rock of Daryl Hall and John Oates and Dan Fogelberg and Tim Weiiberg; to the rhythm and blues of De-niece Williams and Johnny Mathis and Nick Ashford and Valerie Simpson. "Duets have a certain synergistic quality," explains record producer Jack "They enable singers to do songs that neither could carry separately. "Music la to be enjoyed and singing together ii a lot of fun," he adds.

"Kids used to do it around a piano all the time. Duets happen because the people involved enjoy making them Td like to see more duets, even if it's only a couple of guest cuts on what is basically a solo album. No matter who the artist is, after a while he or she begins to compete with the body of his or her own work. Duets add a freshness to the material." Gold speaks from experience. Re produced the Mathis-Williams single "Too Much, Too Little, Too Late," which sold more than 2 million copies and was the springboard for their highly-successful duet album, "That's What Friends Are For." The song was originally meant for just one part But Gold-who had been looking for a hit single for Mathis, whose career had been in sharp decline since the mid-Sixties contacted Williams about singing it as a duet, thinking her rhythm and blues orientation would be the perfect counterbalance to Mathis's more middle-of-the-road approach.

Pleased with result So pleased is Gold with the result he talks of creating yet another duet for Mathis "when I find the right song," this one to combine what he describes as Mathis's "melodic approach" with Gladys Knight's "tremendous feeling." "There's a certain quality when two well-known people get together," he says. "If you do it right, you have a hit" That's what happened when Newton-John and Travolta got together on "You're the One That I Want" the big hit single off the "Grease" soundtrack album. The song's success owed at least as much to Newton-John's established pop credentials and Travolta's emergence as the year's most talked-about new movie personality as it did to the number's free-spirited, Fifties' exuberance. "You're the One That I Want" was created by John Farrar, who had produced Newton-John's solo efforts, with that pair specifically in mind, but not all duets are the result of quite the same calculation. The current Streisand-Diamond hit "You Don't Bring Me Flowers," this year's sentimental love song, came about when a radio disc jockey spliced together versions of the song each had recorded separately to far less enthusiastic responses.

Streisand and Diamond liked it well enough they decided to rerecord the song as a duet While reinforcing the thesis that two can often accomplish in song what one cannot "You Don't Bring Me Flowers" also proves that the art of making duets can be a delicate one. Diamond, who wrote the song, wanted the duet for an album of his songs to bear the same title. But Streisand didn't want Diamond to have the duet on one of his albums if she couldn't have it on one of hers. Since she wasn't ready with an album of new songs, CBS record execu- Art, craft classes at JCC Registrations are being accepted for nearly 100 art and craft classes being offered youngsters and adults during the mid-winter session by the Jewish Community Center at 5700 Park Heights avenue and its Dalsheimer Youth Center, 3506 Gwynnbrook avenue in Owings Mills. Registrations will be accepted on a first-come basis through Friday, January 5.

All classes begin the week of Sunday, January 14, and most continue for a 10-week period. The courses range from calligraphy to ceramics, silk screen printing to sculpture. Many courses are given at both JCC locations. Details concerning other courses in the visual arts, and about fees, instructors and pre-requisites may be obtained by calling Freda Friedman at 542-4900. Stereoland Towson Plaza Is moving to a newer and bigger location at 2066 York Road and to celebrate both Towson and Route 40 stores are holding a gigantic moving sale.

Save like never before on top stereo components, just in time for Christmas. And be sure to visit our new store, at 2066 York Road. SAVE IH? 50 60 OBJ MOST tives decided to put the duet on her "Greatest Hits, Volume II" album and hope it would prove successful enough to merit inclusion. The Fogelberg and Weisberg union had its genesis in the summer of '77, when Fogelberg asked Weisberg to join him on a concert tour. They started by doing a couple of duets on stage during concerts and, encouraged by the response, started recording at the end of the tour.

The result was the imaginatively-titled "Twin Sons of Different Mothers," one of the year's most refreshing albums. Fogelberg wrote most of the songs, fusing Weis-berg's delicate flute on his own vocals, acoustic guitar and percussion, creating a combination of instrumental and vocals in the light jazzsoft rock mold. Fogelberg sets forth the philosophy of the two in making "Twin Sons of Different Mothers" in a special note on the album's back cover. "This album constitutes a collaboration, experimental in nature, between Tim and myself," he writes. "It is an attempt for both of us to move outside our own recognizable boundaries and try new directions new torms of music which we rarely get to explore on our own.

It is a chance to stretch, an oportunity to grow and a hell of a lot of fun." It has also been very successful. At the beginning of December, "Twin Sons of Different Mothers" had sold 1.2 million copies, making it Fogelberg's first platinum and Weisberg's first gold and platinum effort What the above duos have in common, besides their success, is the fact that theirs are first-time, and perhaps onetime, efforts. But there are more enduring duets around as well. Old-timers still around One is Hall St Oates. Hall Oates have had four gold albums and a pair of platinum singles, but they appear to have only just hit their stride with their latest LP, the soulfully rocking "Along the Red Ledge." "This album has tons more energy than anything we've ever done before," says HalL Another is Ashford Simpson.

Originally a Motown songwriting team, the two recorded their first duet album in 1973. Their latest album, "Is It Still Good to Ya," contains the full range of rhythm and blues material. But the strength of the two is perhaps most obvious on "You Always Could," with soaring harmonies on the oft-repeated title line alternating with Simpson's sensuous soprano and Ashford's more lusty falsetto. There are other duets around as well: Kate and Anna McGarrigle and the recently-formed team of Craig Fuller and Eric Kaz are two that come to mind. And the country charts have duet hits by Merle Haggard and Leona Williams and Kenny Rogers and Dottie West, vying for the territory once held by Loretta Lynn and Conway Twitty.

But while the success of duets may be startling, the process can go the other way. For six years and seven albums, Kenny Loggins formed a highly-successful team with Jim Messina. Two years ago, they split and Loggins pursued a solo career. His current and second solo album, "Nightwatch," threatens to become the most successful he's ever had. IJflP fell -JSpkP IV $109.98 $79.98 XtC KV 00 Reg.S199.95 1 SCOTT 320 AMFM Stereo Receiver with 15 watts RMS per channel.

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