The San Francisco Examiner from San Francisco, California • 247

PAGE 37 Rhythm Tina Turner-A Triumph of Instant Ecstacy '3 Franklin or Mavis Staples (just to name two of her contemporaries). What is it, then, that she does? To begin with, she is, like the late Otis Redding, an instant ecstasy singer, the perfect McLuhanistic definition of the medium being the message. She is a triumph of style over content, a performer whose very appearance on stage, before she sings a note, provokes excitement. A handsome woman, she is also a good dancer and a knowledgeable dramatist. By her delivery, she adds drama to the songs she sings.

It can be corny in its sentimentality at times, but it is effective. When she sings she dances. She is, in fact, never still on stage she swirls, twists, rocks and shakes like a compact car going over railroad tracks. Sister Kate's shimmy that shook like jelly on a plate was nothing compared to Tina Turner! All About Love She deals in sex. So do all women singers, but Tina Turner faces up to it directly and lays it right out.

Her songs are songs of love satisfied, rejected, unrequited, lost and abandoned and she does each one with as much drama as she can get into it. At the Stone concerts, By Ralph J. demon TINA TURNER stole the show last weekend when the Rolling Stones appeared in Oakland and I suspect she is stealing the show this weekend wherever she is. For the past ten years, Tina Turner and her husband, Ike, have toured the country with the Ike Tina Turner Revue, at first playing at the rhythm blues clubs, the ghetto theaters and dance halls, and more recently, in the rock palaces and on TV. From where I stand, Tina Turner is the most sensational performer of her sex on stage today and her appearance with Ike, the Revue and the Ikettes at King Hall on the Berkeley Campus Thursday night (as part of the Cal Homecoming ceremonies) is an event of importance.

Tickets for the Ike Tina Turner revue are on sale now at the ASUC Box Office on the UC Berkeley campus, at Sherman Clay, Oakland, and at Discount Records in Berkeley Tickets are priced at $2 and $2.50 for students and $3 and $3.50 for the. general public. Tina Turner has a good voice but she does not have one the equal of Aretha hit' of the Rolling Stones' Oakland concert and of other West Coast appearances in Los Angeles and San Diego. In past years, Ike Tina Turner have appeared at many local places. They've played Fillmore West (broke it up), Winterland (sensational), The Showcase, the BothAnd, and even the hungry i.

But the peculiar combination of things necessary to start the ball rolling for the making of a major star did not occur. They did not come together. The Right Time I think that has happened now and that this is Tina Turner's time. And it's about time. She's been singing publicly since she debuted in an East St.

Louis night club in 1956 when she was 17, after singing in the school choir in Brownsville, and St. Louis. She made her TV debut on Dick Clark's American Bandstand in 1960 and she and Ike have recorded for at least half a dozen labels. They have four children and live in Los Angeles. Tina has appeared in one film, "The TNT Show." Her favorite singers are Ray Charles and the late Sam Cooke.

Tina Turner has been preparing for stardom now she's ready. er, and is now selling quite satisfactorily, backed by the new interest in Tina Turner. Her road tour with the Stones should help. In addition, she has a new song out, "I've Been Loving You Too Long," and another, "You Don't Love Me," both of which appear likely to make major sales figures. Looking at Tina Turner in performance, it is impossible not to see Janis Joplin (as well as to hear the numerous singers to whom Tina herself is indebted).

The Tina Turner style is the prototype for what Janis Joplin does on stage and the question then naturally arises, what would have been the result if Tina Turner had been at the Monterey Pop Festival? Unfortunately, it never occurred to the programmers for Monterey to have her. She was not, at that time, a big box-office draw in this country and her recordings had not attracted their notice somehow. I doubt if they had ever seen her. Possibly most of them had never heard of her (of the top planners for Monterey, none had seen either Wilson Pickett or Otis Redding at that time). So Janis Joplin was the surprise hit of the Monterey festival.

This year, I believe, it will be Tina Turner's turn. She was the cordings Italian radio tapes. Selections include pieces of "Medea" and "I Puritani," plus the "Liebestod." Pon't waste your money. OPERA ARIAS: sung by Anneliese Rothenberger, soprano. (Orchestra of the Deutsche Oper, Berlin, Hans Zanotelli, conductor; Berlin Symphony, Wilhelm Schuchter, conductor.) Seraphim 60092.

Here is a colora- tura angel who will AI be singing at the Op- era House on New JkT Year's Eve, at Josef Krips' last "Night in Old Vienna" party. The coloratura configurations are diligently done and the voice warm and beautiful in these Mozart, Beethoven, Lortzing and Verdi excerpts. Espe-cially enjoyable: Marcelli- TINA TURNER she introduced her version of "Come Together," the John Lennon surrealistic song from the recent "Abbey Road" Beatles album. It was a smashing success as it deserved to be. The material suited her perfectly for a change of pace.

Her accompaniment includes a seven piece band and two girls with back-up vocals. Ike Turner plays guitar and does the arranging for the group. Oddly, enough, Tina Turner is not a big record star in the U.S., at least not yet. She recorded "River Deep Mountain High" for Phil Spector two years ago and it was a number one hit in England, but it didn't make the charts in this country. Recently it has been re-released over here, howev Charles Bressler, tenor.) Nonesuch 71190.

Four representa-S tive examples of the j3LJ post-sermon a a-tas (aria da capo-Jr recitative-aria da capo) turned out by the score by Lutheran baroque composers and by the zillion by Telemann. Attractive music, in a simple setting, getting the added glory of Bressler's superb vocal instrument. OPERATIC RECITAL: La Callas, Prima Donna. (Maria Callas, soprano.) Everest 3259. Somebody's t-rjj.

ting on the bandwa-YV gon here. A perfectly KJ awful rehash of Cal-jL las at her early worst, including some dreadful junk from New Classical Re Continued from Page 35 MUSIC FOR HOLY WEEK (The Ambrosian Singers; John McCarthy, conductor.) Everest 3256. na's aria "0 war ich schon mit dir vereint" from "Fide-lio." BIBER: Six Sonatas for Two Trumpets, Strings and Continuo (Philip Jones and John Wilbraham, trumpets; The Sinfonia of London String Ensemble, Joshua Rifkin, director.) Nonesuch II 71172. For nine centuries, from the time of plainsong to Bach, Siii the liturgical retell- Heinrich Ignaz Franz Biber was a notable example of the Austrian composer coming into his own during three of; (Maxine Makas, so-' prano; Anthony Makas, piano.) Westminster WST 17116. Poulenc's musical philosophy in the writing of songs, noted on this fine disc, was ''The musical transposition of a poem should be an act of love, never merely a matter of Here is a large sampling of the 30 songs Poulenc wrote for woman's voice, delineated in the splendid French vocal style of Maxine Makas.

High artistry, indeed. Hopefully, some of our local sopranos will be inspired. TELEMANN: Four Can-fatas from "Harmonischer Gottesdienst" (The New York Chamber Soloists; JC ing of the Passion, Death and Resurrection of Jesus Christ has in spired some of the greatest music in Christendom. Here is an unusual compilation of musical settings for the week's events between Palm Sunday and Easter. Composers include everyone from Vittoria to King John IV of Portugal.

The selections have a certain sameness of mood that is tedious, broken only by the exultation of Byrd's Gradual and Alleluia for Easter on the last band. The singing is generally good, but there is far much echo. 1 POULEXC, The Music generations of the 17th century (others: Schmelzer, Muf-fat and Fox), These men laid the foundations for the later classicism with an Austrian blend of the earlier Italian and German influences. Biber wrote much instrumental music. These delightful sonatas are from his early period.

They are done by soloists and ensemble with virtuosity and warmth. This is more than just a musicological Tis World! SUnday; tiM i 969 i V'.