NEW APPROACH TO FOLK MUSIC SHOWN

Press, Volume CVI, Issue 31083, 11 June 1966, Page 11

NEW APPROACH TO FOLK MUSIC SHOWN

The folk singer of the purist school—the “ethnik” suffered a little at the hands of members of the University of Canterbury Folk Music Club during their concert in the Repertory Theatre on Thursday evening. They tugged—not always gentty—at his beard, stifled his protests, and put his tongue firmly in his cheek. The concert revealed, in fact, a new approach to folk music—less reverent, and somewhat more sophisticated; an effective blend of sincerity and spoof. The general lack of high seriousness was most noticeable in a series of first-rate group items, which both illustrated and subtly parodied prayer-meeting, jug band, blue grass, Appalachian and folk-rock styles. In each, the appropriate appurtenances, ranging from electric guitar to ice-cream stick and washing board, were demonstrated with ferocious verve, and suitable alterations were made to garb. Moreover, the 13 club mem-

bers and a guest artist made it quite clear from their stage manner—or lack of it—that nobody was kidding himself. The other guest artist, in spite of her attempts to informality, seemed slightly histrionic In comparison. Nevertheless, there were many “straight” items, Including a “There But for the Fortune,” the nearest to a protest song on the programme; a poignant “Stewbatt”; an extremely successful arrangement of the theme from “Black Orpheus”; and “Noneshuch,” a delightful Morris dance tune which was instrumentally impeccable. The concert differed from previous ones in that there were fewer artists and no faltering first appearances. Instead, there were thoroughly competent performances throughout from a carefullychosen and obviously experienced team, whose over-all standard was so good that to highlight individuals woiild be inappropriate. Sufficient to say that this was the club’s best effort yet.