Trust vs. TragedyApia} about desegregationand

human relations, written by atheatre arts student at L'N'l.V,will be performed in several LasVegas elementary schools duringthis month.

"Games in the Lunch Roinn,"by Jack Sawyer, will be presenteddaring PTA meetings In theI'NLV Student Creative Theatre,a project funded b) th< NevadaHumanities Committee,

Tlif public is Invited to attendthe following programs: T : 3Op.m. Apt il 10 at Doris HancockEli mentary School; 7;3u p.m.April lb at R,-x Bell Eli mentarjSchool, 2. p.m. April 24 at WestCharleston Elementary Schooland at 7:30 p.m. April 26 atRose Warren Elementary School,

A panel discussion will followeach performance.

Paul Burns, chairman of the

historv department atUNLV.willjoin Richard Erbe, principal atKermit Booker ElementarySchool, and Porter Troutman,associate director of the UNLVTeacher Corns at UNLV. for atalk about racial relations.

Adtni >sl in is free to allmeetings,

M ■ libers of the cast are JoeBishop and Carla Lawrence ofUN! V. LVa'i Hard) oi Clark HighSchool and Lanyard Williams ofVallej High Si hod.

Sawyer, who isproject directorlor fhs experimental thi atreroup, is a sophomore honor

student. He has appeared Innumerous plays in !,:. h si hooland m Jul-. Bayleji Tin atn .

Hi said tin theme of the play-is that unless men hav • a basictrust in each other, traged;. Willresult.

Cast rehearses for "Games in the Lunchroom." Right is Jack Sawyer. Director.Photo by Tom Borrup

Passion Sunday ConcertTwo works of religious de-

votion was performed onPassion Sunday. April 8, bv theUniversity Chorus and Orchestra

at UNLV.Igor Stravinsky's "Symphonyof

Psalms" and Bach's 'Christ Latin Death's Dark Prison" from

Cantata 1 Will be directed at2 p.m. bj Dr. Douglas R.Peterson.

The UNLV department of musicand the University MusicalSociety are co-sponsoring Hieconcert in the Judy BaylevTheatre.

Palm Sunday ConcertA Palm Sunday concert of three

choral-orchestral masterworkswill be presented April 15 by theMusical Arts Workshop Chorusand Orchestra at UNLV.

Under the direction of Dr.Douu'las H. Peterson, the j;roupwil, perform its second concertof the season at 2 p.m. in the

UNLV Mover Student Union Ball-room.

The concert is free of charge.The program will include three

famous works of the 19th century.Beethoven's "Mass in C,"Brahms' "Song of Fate,"

and "Choral Fantasia" also byBeethoven will be performed.

Joni Mitchell Plugged InJoni Mitchell, songbird., dy-

namic lyricist, poet, compos-er, clouds, roses, morningangel, lady, star, blu>-. green,California' sky, river, W9.lt-ress, police, radio, electrici-ty, blonde, groupie, moon,woman,

Joni Mitchell stands on arock in a sea. Her nakednessleaves her unguarded. She'sfree, A person holds a cameradirected at free and defense-less Joni. He takes picturesfor her album jacket. FORTHE ROSES finds Joni stilltrying to add (plus) nature to(minus) reality and come on*with a happy denominator.

"In some office sits a poet/And he trembles as he sings/And he asks some guy/Tocirculate his soul around '

On vour mark red ribbon run-ner/ The carressing rev ofmotors / Finely tuned likefancy women I ... Up thechar's / .

. .

Everything'sfirst class / ... And it Ijust you... / Getting themto feel like that..."

Joni doesn't write for usto understand. You lave tobe Joni to know Joni. But,once in a while she'llcome across with a fantasyor a dream that we #ont re-late to but rather, steal fromher.

"Oh 1 wish I had a river/I could skate away 0n..."

She tends to propagate es-capism more often than ne-cessary. If she isn't fleeingfrom a mistake of love (asis the case in "River")

EWRECORD1 Rh By Bill Becker <

she's returning to it."Oh starbright, starbright/

You've got the lovi i' thatI like, alright/ Turn this

crazy bird arouii'j / Ishouldn't have gotten onthis flight tonight.'

Aiivone who enjoys the po-etic styling of Joni Mitchellknows that she's in apersonal genre. Free versecorrelates with freedom. Thehard nouns that she uses fromtime to time are ammunitionto eomba* reality against IdyllTo use a bad phrase, she'strying to find an answer but,what's the question?

The lady from Canada isdevoted to changing folk musicfrom a sing-along joyous noise

to a SOttnd that says, listenand learn, then relax. Often,she crams a whole paragraphinto one line with her tight-lunged vocals. She,like Dylan,is well interpreted by otherartists. That is, if you'relooking for a song. If you needthe message, listen to Joni.If you haven't heard her, buyBLUE. It's an album thatgrows on you more rapidlythan the others. If you knowJoni alreadv, or think you do,buy FOR THE ROSES, Thenestablish you're collection.Joni Mitchell has a devotedfollowing. One either lovesher albums (plus) or hatesthem (minus). That's alright.

She doesn't mind . It allworks out .

STUDENT REVIEWMusic To Keep The Wolves Awake

byMorley Bartnot

Mahavishnu Orchestra inconcert at the Santa MonicaCivic Auditorium in Californ-ia : John McLaughlin (guitar),Rick Laird (bass), Billy Cobham(percussion), Jerry Goodman(violin), Jan Hammer (kevboardV

If you listen to the BIRDSOF FIRE Album ( the sec-ond album under the name

Maluivishnu Orchestra, notcounting MY GOALS BEYOND),the needle on your record play-er plays a half a minute ofsilence before a musical soundis heard. Billy Cobham breaksthe silence by playing a small

. with McLaughlin'sfabulous guitar intro. Before youcan shake a tail feather, the bandis attacking a tasty 9/8 time sig-nature which in turn blends intoa nice jazz shuffle bringing youback to the top again. Definatelya musical tour d' force!

After John introduces eachmember of the band, he asks fora few moments of silence fromthe standing room only crowd.The results from the enthusiasticaudience were excellent.Cor-responding with the title cut onBIRDS OF FIRE Cobham breaksthe silence with a gong , so nat-ural,)' you would expect to hearBIRDS OF FIRE, right? Wrong!From out of McLaughlin's doab-le neck guitar comes the compof "Meetings of the Spirit" fromthe INNER MOUNTING FLAM!-,album Which blends a flowingi2/8 feel with Jerry Goodmanand McLaughlin playing anintense ballad-type movement inthe break. Before you know it,the orchestra has combined"Meetings' with "Open CountryJoy" from the FIRE album. Inthis tune. Goodman's melodiccountry - like violin line bringsa tear to your eye and a goodfeeling to your heart. The songfades out completely only to comethrashing back at you with thewhole band playing a musicalfigure that sounds like it couldhave come out of World Warm. Then they go back to Jerry'scountry violin line from the open-ing of the tune. Thirteen min-utes later, you're convinced thatyou're in for an evening of puremusical excitement.

One lenses the depth and un-derstanding of the art of im-provisation as they watch theorchestra work on stage-not un-like a well trained actingensemble. When Goodman andexcellent Mougist and keyboardman Jan Hammer are left a-loneon stage during "Dance ofthe Maya" their instrumeiis be-come mere extensions of them-selves rather than obvious tools."Dream' , a brand new song,displays the power of the bandwhen working around a fragment-ed acoustic guitar feel as sup-plied by McLaughlin. Soft con-

fusion combined with a strongelectric movement results in animaginative interpretation of adream.

Now is probably as good atime as any to be perfectly hon-est. Mahavishnu Orchestra, bothlive and on record, is composedof musician's musicians.lt takesa dedicated musician with tento fifteen years experience toappreciate wliat is technically

and melodically happening.lnother words, this band playsits ass off!

Cobham's drum solo on the firstDREAM album is nothing likehis playing of "One Word" fromFIRE. He is truely an inven-tive musical and technical per-cussionist. Rick Laird's basslines may have been a bitsoft in relation to the rest ofthe band at Santa Monica, buthis playing is always tasty andright there. In live performanceJan Hammer's piano and Moogplaying is more intricate than hisplaying on the albums.

JamfS Bennet and Gary Pull-iam's favorite violinits, JerryGoodman, may remind you a littlehis playing on the "Flocks" fab-ulous "Dinasour Swamps" album,but listening closely, Goodman'screative staccato sound has pro-gressed considerably in fouryears. His inventive sourceshave excelled as well as hisconception of blending a melodyline with the rest of the rhythmsection. Last but not least, isthe leader himself, John McLau-ghlin -- surely the finest guit-arist the world has seen. Mc-Laughlin combines incrediblespeed with taste and versitalitylike nothing you've ever heard.

Hopefully all you Alvin Lee,Mark Farner, and Ed Herch fanswon't be offended by this state-ment, but John McLaughlin isunsurpassable.. .

he is the bestin every direction.

His early years with TonyWilliams and Miles Davie maturedhim beyond explanation.

After "One Word" concludedat Santa Monica, the crowd ap-plauded and cheered until, aftera ten minute ovation McLaughlinreturned with"CelesticalTerres-tial Commuters" from "Birds ofFire".

I could have listened to themforever and not have been bored.Definietly a learning experience!

Definitely enough music to keepthe wolves awake.

14-THE YELL-APRIL 11, 1973