Variety (Dec 1942)

Wednesday, December 9, 1942 ADAMS, NEWARK Newark, Dec. 8. Count Basie Orch (16) with Jo Jones. Eorle Warren, Jamet Rush- ing, Thelma Carpenter, Bill BaiUy, Moke and Poke: 'Mexican Spitfire Sees Ghosf ( HKO). Sepia shows have always been dynamite at the Adams, and current showcase, featuring Count Basie and his torrid crew, is no excepUon to the rule. The Count, always a big lave with the local jive brigade, is virtually a local boy, hailing from Bed Bank. Just to prove he hasnt forgotten the old homestead, Basie is featuring a new ditty written in its honor. It's called 'Red Bank Boogie,' and it's steaming. Basic's combo comprises seven brasses, four rhythm and five saxes, with the Count sitting in at the pi- ano It's a musically nep outfit, and features some crack swing virtuosos. Basie, of course, is a keyboard fea- ture, his smart pianology ranking him as one of the best in the busi- ness. L A Band's repertoire is off the beaten track, including such specialties as 'Sand Man'. 'Brushes,' which features Jo Jones' beguiling skin pounding, 'Nine Twenty-Eight 'Special,' and 'G and R," the latter giving full play to the sax and brass soloists. All and all, it makes for a sock swing sesh, and the jive clique loved every min- ute of it. Band's featured male warbler is Earle Warren who ^ets off only one number, 'My Devotion,' and does a nice job of it. Would go over bet- ter, though, if he disposed of those arm gestures at the end of the song. They don't fit in. The'ma Carpenter, Basic's current canary, is easy to look at and knows how to use her pipes to full advan- tage. Scores with Gershwin's 'Man I Love,' and "Them There Eyes,' an oldie. Gal should fade on latter number instead of encoring with 'Good-for-Nothing Joe,' a stock com- pany version of 'Jim' which misses the mark by a wide margin. Customers getting a bang out of James Rushing, a short, fat boy, whose opening number, 'Five By Five,' is very apropos. Follows up with two numbers germane only to Harlem. Exited to a nice hand. Bill Bailey, billed as 'Tapology,' on next with some plain and fancy hoofing, including the inevitable im- personation of Bill Robinson doing a soft-shoe number. Intersperses his dancing with considerable mike chatter but overdoes it. Moke and Poke, n6 strangers to this house, are pitching the same line. Turn still consists of a mini- mum of dancing, at which they're clicko. chatter, most of it n.s.g., plus the usual prattfalls. Boys really tear down the house when Moke dons his femme outfit, and they go Into their Savoy Ballroom jitterbug routine. Biz good at supper show. Jona. EMBASSY. N. Y. (NEWSREELS) The battle between a U. S. carrier and Jap bombers, photographed by Navy cameramen, is one 6I"The most .actionful and dramatic episodes on the war to be filmed. 'Though no killed or woundeJ men are identifled by the camera, the fierce fighting in a gale proves exciting. A serious fire raging astern is finally extinguished after the Japs have been driven off. Another blaze, started when a bomb strikes the middle of the carrier, is also put out, while during the fight two Jap bombers are photoed burn- ing in an oil-sprayed sea. Carrier Is not named nor is the location of the battle except that it's the southern Pacific. Sequence carries the Par label. Numerous other clips attendant upon war are on the show, one that's better than average. One of the more actionful contributions is made by News of Day (Metro), covering a bombing of Hong Kong and including pictures taken by a Chinese camera- man named Wong. It was Wong who smuggled pictures out of China some while back, including the memorable one showing a little baby alone amidst the ruins of a town, plain- tively crying. This shot has often been used. News of Day also offers a clip on the bombing of Kiska by U. S. planes. Misty weather makes, it difficult to clearly film the damage wrought, though one can see hits that are made on Jap enforcements. Capture of Casi-blanca and Algiers, smashed enemy ships, German and Italian prisoners taken and person- alities figuring in the F ench-AUied armistice are highlighted in a Pathe sequence that is well pieced together. Pathe also films the capture by the British Eighth Army of Matruh, where also prisoners were grabbed. On the scuttling of the French fleet at Toulon all Universal could <]o was dig up pictures of it when the Nazis first occupied France, with a commentary accompanying. Bill also includes report of Secre- tary of the Navy 'Cnox on compara- tive Jap and American losses in men since Pearl Harbor; decoration of Tokyo bomber-fliers at Chungking; return to U. S. of men wounded in the North African campaign; sale of HOUSE REVIEWS 47 first bond to President Roosevelt In the new Victory "JHind drive; rubber administrator Jeffers talking on the tire conservation program; war poster contest and winners; new tanks being tested on proving grounds In Kentucky; Willkle speech in Canada and activities of women in the war, including the WAACS and the newly-created WOWS (Women Ordnance Workers). In the sports column are two foot- ball games, Army-Navy and Georgia- Georgia Tech, and an exhibition of billiard wizards doing trick shots. Rounding out are 'Picturesque Patzcuaro' (Metro), a James A. Fitz- patrick Traveltalk, and 'Keeping Fit,' Victory short made by U. Show did not include any pictures of the Boston Cocoanut Grove fire, newsreel executives having decided ti.e shots were too gruesome for release. Char. STANLEY, PITT Pitlsbureh, Dec. 4. Major Bowes Eighth Anniversary Revue with 5t<in Earlv, Harmonica Bees, 4 Berry Sisters, Windy Coofc, Annabelle Htll, George OeWtte, 4 Qiieens, Alex Macoochie, Danny Draysoii, June Brady, Lloyd Marks; 'White Cargo' (M-Gr. First Bowes show to play WB deluxer in a long time. Used to be that the amateur revues were prac- tically a twice-per-year must at this spot and at one time did consistently more biz than the big name bands. Novelty wore off, however. Scarcity of available attractions led Stanley to book Eighth Anni revue. It's ac- ceptable entertainment although b.o. lure isn't what it used to be. There's a distinctly professional polish about at least half of the gang. Danny Drayson, next to closing, is a crack eccentric hoofer with a nice sense of comedy. A moppet named Windy Cook who can't be more than 13 is a juve edition of Rufe Davis with his vocal sound effects, and the youngster stopped the show cold at the getaway. Mob wouldn't let him off. Impersonators are Stan Early, m.c, and June Brady, latter encasing her takeoffs on Hepburn, Garbo, Baby Spooks, Mae West and Martha Raye in song. She sells them solidly. Early's a commonplace emcee but his mimicry is first-rate, with his impression of Cary Grant tops. Also does a corking Major Bowes. The Four Berry Sisters, harmony quartet, are okay. Attractive blondes, they actually look like sisters and have the voices to sell themselves. Their 'Praise the Lord' in almost boogie-woogie time is in somewhat poor taste but a smart arranger could do wonders with the gals. Annabelle Hill's 'Old Man River' and 'White Cliffs of Dover' rate big. Others are the norm for a Bowes show—the novelty musician (George DeWitt), who gel: tunes out of a weird-looking assortment of props; dancing by the Queens, four gals whose hoofing is pretty ordinary, and an accordion player, Ale?c Macoochie, who winds up effectively with a miniature instrument he plays by merely tossing around. Biz just fair. Cohen, TOWER, K. C. Kansas City. Deo. 4. The Pelleliers (2), Johnny Ro- mero, Charles & Helen Stone, Col. Wilbur & Juanita, Dorothy Ruther- ford. Tower Orch with Don Tiff, Mike Carle & Marilyn Ballinger; 'Moonlight in Havana' (U) and 'Youth on Parade' (Rep.) House has one of its strongest stage shows in weeks with plenty of boxoffice appeal. • Show opens as house orch plays a medley of 'Eyes of Texas' and 'Heart of Texas.' and then segues into 'Touch of Texas,' with Marilyn Ballinger, featured regularly, step- ping out for two snappy choruses. Johnny Romero, juggler, doubles as m.c. and first brings on Charles & Helen Stone, who have a fast- moving tap routine. Their best num- ber is a long tap done to 'Poet and Peasant' overture, an unusual choice for hoofers. They do all right' by it. On in the deuce spot, Johnny Ro- mero does some clever juggling of balls. He finishes with a combo of juggling and tapping, doing both with neat timing. The 'Tower Discovery' this week Is Dorothy Rutherford, soprano, who sings 'A Heart That's Free.* She possesses a naturally sweet voice but still needs poise. Next to closing goes to Col. Wil- bur, sharp-shooter, and his partner, billed simply as juanita. He uses both a rifle and an automatic, break- ing target chips and cutting strings. Finish comes when he shoots away the shoulder clasps from a formal worn by his partner, and the quick strip effect earns a good hand. The Pelletiers. hand - balancers, close the show with neatly-executed turn of stunts. Their closing bit in- volves the balancing of a small dog on a cane handle. The pooch has been expertly trained, and the finish tops off the bill nicely. Heavy biz at opening. *^<"''- EARLE, PHILLY Philadelphia, Dec. 5. Bob Croaby orch with Judy Man- ners, Billy Rayes, Ray and Trent, Evelyn Farney; 'Street of Chance' (Par). An all-round satisfying show is whipped together at the Earle this week. Despite having played five pre- vious shows on the day caught. Bob Crosby's boys appeared plenty on the beam and the customers seemed to love it. They tee off in the best Dixie- land manner with 'Summertime', following with 'King Porter'. Other band numbers include 'Yancy Spe- cial', 'Jazz Me Blues', and a neat novelty arrangement of 'Strip Polka' with three bandsmen stepping off the podium to impersonate a trio of burley dolls peeling. Crosby's sole solo is 'Moonlight Becomes You' which he sings in the now-accepted Crosby manner. Judy Manners is enthusiastically received with her rendition of 'Great Day', followed by imitations of the same song as done by Bonnie Baker, Beatrice Kay and Judy Gar- land. Billy Rayes. top-fiight juggler, knows how to dress up his act so that the customers are sold. Best bit of business is his imitation of Sally 9and and Greta Garbo as he tosses around the gaudy-colored pins. Ray and Trent, acrobats, and Evelyn Farney, tap-dancer, are also excellent in their spots. Finale has the entire band and Crosby's vocalists, playing and sing- ing songs of the armed services. It's a sock windup. Standing three deep in the lobby when caught Saturday supper show. Shal. ORPHEUM, MPLS. Minneapolis, Dec. 5. Russ Morpan Orch (17), with Vera Lane and Jana, Skating Hamiltons (2), Gillette & Richards, Lennie Gale; 'Seven Sweethearts' (M-G). This is the first trip here for Russ Morgan and his boys and they're making the sort of impression which should assure them a welcome whenever they return. It's a strictly novelty outfit that dispenses ex- tremely ILstenable sweet swing and goes in for glee club comedy and solo groupings. As for Morgan, he's a breezy emcee and conductor. Three boys from the band do the vocal for the opener, 'Does Your Heart Beat For Me?', the outfit's theme song and a Morgan original. Another Morgan composition, 'Please Think of Me,' with. instru- mental soloing and glee club war- bling, follows. Comedy touches em- bellish 'Sweet Elolse,' a standout featured by the vocalizing of Walter Link from the band. Vera Lane, the band's feminine singer, is a personable blonde who does a good selling job on 'Nightingale' and 'White Christmas.' 'Johnson Rag' finds the band getting hot. It's another ace contribution. Gillette and Richards steer clear of the conventional in their ballroom terp turn. Noteworthy is an in- terpretation of 'Lambeth Walk' as Londoners mit;ht be dancing it to- day, an amusing interlude during which an ex-stripper embarra.sses her partner by frequent reversion to lype. Lennie Gale's impressions of radio and film stars clicks, those of Fred Allen and the Four Ink Spots es- pecially meritorious. His material, for the most part, holds to a high level. The crayon sketching stunt makes a good band finisher. Open- ing show biz light. Rees. HIPP, BALTO. Baltimore, Dec. 4. Dave Apollon (4), Sara Ann Mc- Cabe, 4 Jan.<!leys, Ceorpc Prentice, Felice Jula Home Orch (16),- 'Bambi' (RKO). Nicely planned stage layout is built around personality of Dave Apollon and is given a Russian twist via cos- tuming of house orch, brought on stage for supporting stint as well as a specially arranged medley of na- tive tunes which ends in a swing version of 'Dark Eyes.' Apollon handles the stick for this spot and contributes a .spot of ivory thumping which is sold solidly. The Jansleys open the doings with their .standard risley nicely spotted for laughs and sold to the hilt with every trick. George Prentice in the deuce spot utilized a portable prop to sell his modernized version of a Punch and Judy show. It's nicely paced for laughs and made to order for potential juve trade attracted by the Disney film. Sara Ann McCabe, songstress, fol- lows. Nice appearing femme has the pipes and knows how to use them, but change of pace and better shad- ing in selection of numbers would be a help. Opens with lilting 'You Know and I Know,' followed by a Gershwin medley which rings in all the standards and encores with White Christmas.' Apollon lakes hold of the closing New Acts JANE PICKENS SonKs 20 .MIns. Pierre Hotel, N. Y. This is a new J^ne Pickens, hence a new act for a now standard femme .songstress, lone surviving member of the former Pickens Sisters trio and now emerging as a glamorous per- sonality who should click in the cafes. That the pattern may be discern- ible to the initiate is negligible, com- pared to her stature today as an effective songbird who can play the class clubs and do well. She evidences painstaking application to improving her ease, composure, personality :.nd versatility, having always possessed a well-trained voice which, under tho new auspices, now assumes added values. She has patently primed herself for the big cafe league, veering more to the intime style of customer rela- tions, and Is mixing up her straight vocals with lighter interludes and pianologing. Latter is also a new touch. 'Make Believe' and 'Sleepy Lagoon' open, seguing into a colored revival meeting takeoff, 'Joshua at the Gates of Jericho,' which is a nice way of bringing up Miss Pickens' Georgia background. Thence 'Gypsy Makes His Violin Cry,' giving full sway to her high-C's, evidencing -'eft con- trol and holding he room. Incident- ally, this is an ideal spot for her full-range soprano. •What Do You -"hink I Am?' is at the piano: thence a mention of her USO work to introduce 'I Said No," which is a. mistake for two reasons; one, its close identity with another cafe songstress, hence it assumes needlessly odious comparisons which should be avoided when personality gals compete in the same league; and (two), because it's now dated. 'Tea for Two,' with some trick piano-lighting, gives way to 'Jingle Jangle,' with an audience participa- tion, playing to but one ringsider. This might be improved if working with three or four males or even the entire room. 'White Christmas' finales. Miss Pickens evidences two things, one is her progressiveness and a will to make headway in a sophisti- cated field where, heretofore, she was restricted. 'The second is that- a zingy personality can put life into the Hotel Pierre's Cotillion Room, long a jinx spot. Answer is that biz has hypoed since Miss Pickens' ad- vent. This is the more amazing in view of Lena Home's strong supper trade at the nearby Savoy-Plaza and, of course, Hildegarde's sock click at the Hotel Plaza's Persian Room, all three hostelries being in the same zone. Abel. JOAN BROOKS Songs 16 MIns. Glen Rcndeivous, Newport, Ky. Joan Brooks looks like a natural for cafe.s. Her appearance, person- ality and delivery are refreshingly different, and in vocal rarige she can be tabbed a femme Bing (frosby. Currently under the Blue net- work's banner, filling a Wednesday mid-day 15-minutc sustaining period, she is doing a three-week interlude at Glenn Schmidt'K intimate casino- nitery, which is acro.ss the Ohio River from downtown Cincinnati, She's a dark-eyed brunet and, at this catching, plenty (etching in a blue evening gown. Backed ably by Chick Mauthe's seven-piece combo, she clicked on every number, each a special arrangement of ballads or comedy tune. Opened with 'You,' followed with 'Dearly Beloved' and 'Lorelei.' Then a medley of pop hits from 1936 through this year. Encored with a comedy arrangement of Tavern in the Town.' Miss Brooks was the low voice of the Three Little Words combo with Phil Spltalny several seasons ago. Of late she also has done a Saturday afternoon series' tagged "Phantasy in Melody,' for the Blue network. Koll. MARIANNE LORRAINE Songs 11 MiDB. Village Vaneuard, N. Y. Undoubtedly one ol the strangest performers to have hit the U. S. nitery circuit in years i.s Marianne Lorraine. She came to this country about two years ago from France, where she had gained a considerable reputation as the exponent of an art almost entirely foreign to America. She was a sort of singing-monologist, doing all specially written numbers in which she switched back and forth betwen song and recitation. They were done to a piano accompaniment, and the delivery was greatly depend- ent upon body motions. She attracted the attention, when she first arrived in the U. S., of such poets as Archibald MacLeish and Carl Sandburg, both of whom wrota special song-stories in English for her. All her previous numbers, of course, had been in French. Thus equipped, she gave a concert in Town Hall, N. Y. This was set up for her by the William Morris agency, which thought it might have .something in the gal and was trying to determine what. That was the total of her pubic appearances in this country until she turned up at the Village Vanguard, the tiny cellar bistro in GreenwicJ} Village, N. Y., last week. Recogniz- ing that MacLeish and Sandburg nre not fit accomplices of jive and gi^,' she has endeavored to lighten ner output with other numbers, some of them distinctly on the blue side. They include one (entirely in French) of a Paris cab driver who drove soldiers to the Marne; another (in English) of a French prostle who feels she is being outdone by Laval the way he's prostituting him- self to Hitler; and 'My Man' (in French). Miss Lorraine remains a whatsis, however, entirely imponderable to the average Scotch-drinker. He'll think of her only as a mass of bril- liantly-dyed red hair, mounted pecu- liarly on top of her head; the hoars- est voice since, the Smith Bros, dis- covered you could do something about it, and a perpetual source of amazement as long as she's in front of the mike. It appears that until La Belle Patrie once again sounds to 'La Marseillaise,' and Mi.ss Lorraine is free to return, or until she discovers a different combination for using her talent, her profess'on.-l future is in a dimout. slot for his own major contribution and with mandolin in hand backed up by a trio of guitar-playing Fili- pinos, socks out renditions of 'Be- guine.' 'Kalamazoo' and a South Sea and Russian mixture to big response. He clowns with his a.ssistants for plenty of laughs and brings the Kct to a rousing finish with a patriotic tableau. Miss McCabe's rendition of the 'Star-Spangled Banner' earns an added cheer. Biz just fair. Burm. APOLLO, N. Y. Louis Jordan Orch (5). Al Sears Orch (11), Bet;erly White, Dewey 'Pigmeat' Markham, Jimmy Baskette, Isadora Price, Reei;et Sisters {3),Six Willyx; 'Atlantic Convoy' (Col). With none of the top Negro name orchs that usually play this house available, the management has brought in two musical combos and a good stage show. The Al Sears crew has been to- gether since Labor Day and is mak- ing its stage preem at this spot. Sears, .saxman in the past with the Andy Kirk band, has had his combo working dances at the Renaissance ballroom in Harlem. Thanks to a nucleus of six expert sidemen they manage to overcome the expected nervousness of a debut. Play the show expertly and do four tunes, none of them pops, in typical rock and ride style. Sears is a standout with his sax, especially in 'Travelin' Light.' The Louis Jordan combo oozes personality and showmanship. It's been away from these parts for over a year and in that time has done .some Dcccas that had the Local juke- box fans primed. Everyone mugg.s and clowns without affecting the musical output. Jordan handles the sax and the vocals. The six numbers are tailor-made with The Ration Blues' and a specialty featuring the drummer the best of the lot. On for 20 minutes and never a dull moment. Dewey 'Pigmeat' Markham handles the comedy this week and for a change It's belly-laugh stuff. With Isadora Price and Jimmy Baskette playing straight 'Pigmeat' does two skits. First is about getting his lA card and interpolates a tune, 'Please Be Careful If You Can't Good.' Followup comes later and has him back on his first furlough.. Audience, always a pushover for lusty humor, howled loud and often. Beverly White, formerly with the Claude Hopkins orch, handles the vocal end of the bill. She's doubling from the Elks Rendezvous, local nit- ery, and sticks to the ballads so as not to affect her draw at the bistro. A buxom gal with a sultry voice, she does nicely with 'White Christ- mas,' 'He's My Guy' and a semi-Jive version of 'Old Map River' The Reeves Sisters do a so-so hoof- ing chore. One of the girls works in a tux which makes her stand out. Only ofay act on the bill, and a good one, is the Six Willys, three men and three girls In formal garb, who do a juggling turn with Indian clubs. At one stage all six are in ac- tion. Later they do the same with hoops. For a flash finish they u.se a couple of oversize scaling ladders that reauire expert balancing. A well-paced 80-minute show that warranted the boom biz. Fron. OCD Group Names Kemp Charlotte. N. C, Dec. 8. T. D. Kemp, Jr., manager of Southern Attractions, has been ap- pointed chairman of the social activi- ties comittee of the Recreation Di- vision of the Office of Civilian De- fen.se here.