Word: tschudin
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Dates: during 1960-1969
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...those songs done full justice. Musical director Michael Tschudin has contributed some flashy arrangements which sound fine coming from his small orchestra, but which seem to confuse the singers and on occasion clash with them as well. The result is that the orchestra and the cast are not always in the same key, and the cast is sometimes in none. In the second act, however, the situation improves, or at least last night...
Irwin Carson and Mike Tschudin don't seem to have understood what kind of a show they were writing for. Their few pretty melodies got clobbered. Most of the tunes were too subtle. The one tune I can remember is the title song but I remember liking "Miss America Teen" at the time...
...less important to the success of No Hard Feelingsare the talents of song-writers Irwin Carson and Mike Tschudin and lyricist Timothy Mayer. Most numbers have a pleasing if eclectic sound and all are literate and clever. A trio of songs in the first act-"Lingua Academia," "You Made My Conscience Expand," and the title song--are exceptional. And the rousing preintermission finale, "Forbidden Frug," rocks the club house as that other House must have been shaken by the antics of America's favorite teen-ager...
Another junior, Mike Tschudin, was ubiquitous: his five-man ensemble played three sets of his own compositions and he wrote the music for two of the Jazz Dance Workshop's four sequences. Tschudin showed himself to be a skillful, full-handed pianist, but his music lacked real emotional impact. His quintet played pleasant, solid jazz when its members felt themselves able to swing freely. But they couldn't stay together when they played from sheet music; the pieces of paper diverted their attention from each other...
...Mike Tschudin sextet followed with three tunes, all originals. Tschudin's group played a lonely, jagged kind of jazz: in ensemble, it sometimes bordered on the disorderly. Its hear number, Half Dozen, featured a wispy, peaceful solo by flutist Ray Taylor. Tschudin, on piano, played a startling mixture of styles: Cecil Taylor, Horace Silver, David Tudor, and his own. His combo is rough around the edges, but his attempt to find his own way makes his music exciting...