Variety (April 1956)

80 NIGHT CLUB REVIEWS P^Rimfr Wednesday, April 18, 1956 S*. Begls, New York Genevieve (icith Wally Corvine), Milt Shaw & Ray Bari Orchs; con¬ vert $1.50, $2.50. There are so many French chan- tooseys now plying their trade in the posh N. Y. boites that the cur¬ rent tune, “Poor People of Paris,” begins to look like a spurious, pitch for Point IV aid. Genevieve is the latest to bivouac in the midtown inns, this being a subsequent date for her in New York. Her stand at the St. Regis Maisonette is the first one in Manhattan without the aid of Luc Poret, her ex-husband and guitar accompanist, who has gone into business for himself. However, Genevieve has the back¬ ing of accordionist Wally Corvine and the catgut trillings of maestro Milt Shaw, and thus there's still a strong background that looms im¬ portantly in her offerings. Genevieve exhibits the same tendencies of many of her com¬ patriots by an uninteresting song assortment at the start of her turn. Bulk of them are unnecessarily heavy and overdramatic, and it isn’t until a considerable slice of her allotted time has gone that she starts with songs that entice a re¬ sponse. The deep-voiced singer is gen¬ erally unfamiliar with English and her few phrases of translation are inadequate to give much meaning to her numbers. On top of this come strange melodies and there¬ fore audience interest seems to lag. But once she essays a chanty in the style of "La Mer” and thence into a gay street song, she starts clicking. On the latter member, however, she strays from the mike and much of the offering is lost. There isn't sufficient room illumi¬ nation and no spotlight to follow her around her peregrinations, but there’s little doubt that the song has a salutory- effect. From then on in. Genevieve lets her songs work for her. A medley of familiar French tunes sung with gaiety and spirit give her a para¬ mount finish with all flags flying. A medley including “Tour Eiffel,” “La Seine,” “Mademoiselle de Paris” and winding up with “Ca C’est Paris,” hits the maximum impact. She encores with “La Vie en Rose” and further establishes herself in the hit groove. Milt Shaw’s backing and dansa- pation and Ray Bari's relief are the other points of interest in the room. ‘ Jose. Mocamlio, Hollywood Hollywood, April 10. “Be My Guest ” revue, Paul Hebert Orch (7), Rubin Moreno Rhumband (5); cover, $2. An energetic sextet of yourigs- ters has taken over the Mocambo foi the current layout in a “re- vuette” consisting of original ma¬ terial and tagged “Be My Guest.” They’re enthusiastic enough, but their 35-minute turn leaves much to be desired in the way of nitery entertainment. Group was “discovered” at Cab¬ aret Concert and brought up to the Strip for this bigtime bow, but it’s extremely premature. They use material by Bill Barnes, who also handles the key board chores, in a style reminiscent of the old Re- vuers. Some of it is good and there are chuckles in the running ag takeoff of “Hit Parade” pro- uction numbers. But the turn can’t stand more than about 15 minutes without sagging. Too, from the standpoint of future bookings, there doesn’t seem to be much of a market for their wares. Outfit consists of George Eck¬ stein, Ann Guilbert, Joyce Jame¬ son, Mike Rayhill and Bob Rod¬ gers, in addition to Barnes. Paul Hebert and Rubin Moreno orchs hold over. Kap. comes after his English Channel swim. Starlets revive a “Gold Diggers of the Golden West” with some matching lyrics by Elaine Evans to clear the way, and precede Miss Page with all-out “Square Dance.” A caller gives the number color even if he can’t be understood. Bill Clifford’s crew gives Miss Page’s numbers big sound under her conductor, Rocky Cole. Mark. Desert Inn, Las Vegas Las Vegas, April 15. Johnnie Ray, Paul Gilbert, Donn Arden Dancers (13), Art Johnson, Carlton Hayes Orch (12); $2 minimum. With the Desert Inn sporting its niblicking Tournament of Cham¬ pions this month and the attend¬ ant hoopla forging a national pres¬ tige event, Johnnie Ray rides high on the crest of the oncoming tide. Paul Gilbert and the plush Donn Arden productions complete the all-around lure. Ray’s highly personalized, nerv¬ ous style is noted at once as he begins the songspiel, and the ten¬ sion is stretched over the entire collection of tunes. “Walkin’ My Baby Back Home,” “Ain’t Misbe¬ havin’ ” and the wig-flipping “Such a 'Night,” swing with humorous touches, but in “With These Hands,” “September Song," “Give Me Time,” and medley of “Little White Cloud,” and “Cry,” he goes in for the emotional excesses .that have amassed him wide popularity. The tack to spiritual shouting, marked in “If You Believe,” reaches a peak in the closing bit which has its parallel only in a re¬ vival meeting. When this is ex¬ tended into the finale, tacked onto the Donn Arden “Pool Room Blues,” in the form of a graphic “The Deluge,” and Ray’s singing of “Noah” while standing on a.set piece of the ark, the question of' good taste for a nitery presenta¬ tion is' ventured. The gimmick even has a can-can by the Arden belles concluding the “Noah” shout—a real eyebrow lifter. Paul Gilbert is great in this re¬ turn. A breezy yock-filled line of patter gets him off and away in¬ stantly to continue without abate¬ ment until bowoff. Gilbert sings more, with specials contrived to bring, forth mocking jests on a va¬ riety of subjects. For. a rib at the Belafonte type of presentation, there are two standouts, “Harry, Won’t You Please Come Home,” and “Old Man River.” Still the tops in his layout is "Medic,” which hasn’t a dull line or piece of biz in the whole routine. Skater Margie Lee is gracing Donn Arden’s curtain-raiser, a whimsy on Eskimo-land in “Top of the World.” Miss Lee not only provides some excellent tricks on the blades, but appeals with her looks. Carlton Hayes batons the orch with authority and Ray’s longtime drummer, Herman Camp, is added for extra rhythmic ef¬ fects. Will. Oriental Cafe, Tripoli Tripoli, April 3. Kaukab El Shark; Nayima, Orch (5); cover, 70c. Top entertainment spot for the out-of-towners and 10,000 airmen stationed at Wheelus Air Base here is the Oriental Cafe, which fea¬ tures cheap beer and a girl show, plug good fairly recent' American dance music. Headliner is Kaukab El Shark,' called “Star of the West,” a bru¬ nette shaker from Tunis who shim¬ mies all over. Clad in costumes that look like a Technicolor ver¬ sion of a harem, she pulls, off veils and shakes with an Arabic bumps- and-grinas routine. ltivrrsiri<% Iteno Reno, April 12. Patti Page, Jay Lawrence, Star¬ lets ( 8 ). Bill Clifford Orch ( 11 ); $2 minimum. Unseasonable rain and snow may stop some shows, but evi-! dently Patti Page will have no' trouble overcoming the handicap . 1 Program is livelier than hereto¬ fore, with some bongos for a racing 1 background on numbers. such as “All of You,” and her opener “Give Me the Simple Life.” Most¬ ly, however, Miss Page delivers straight and consistently, moving from song to song with only a bow. Only production effect is the twirling globe which sprinkles a starlike effect over the room while she waltzes and sings “Tennessee Waltz.” She briefly touches on a medley of other disclicks. Jay Lawrence is kicking around in some old material, but likable manner overshadows this defect. Impreshes of his “Stalag 17” trio is fine and his Sinatra carbon -is perfect. But his best response Her competitor for applause a North African-can girl nam Nayima, another shiver-and-sha specialist. Both girls are' youi and shapely and draw a heavy mi Law requires that the girls wear G-string and small bra, but th do all that the law allows in sedt tive wiggling. Accompaniment is provided handmade native instruments, 1 noun (horizontal harp), kama (vj lim, oud (lute) and .droubak 'drums). Group plays exotic Ar music for the shimmies, a: . switches to standard but slighi , dated U.S. pops, with accent on t i samba and rhumba beat, i Biggest buy is beer, import ; from Denmark and Germany anc ; heavy sell for an inexpensive nig at 25c a bottle. Decor is the American idea of : Arab building,, with audien j seated on leather couches and li I leather-covered stools, drinki • from coffee tables made of yai i wide round brass platters plac on tiny legs. Intime and dark lighted, place offers dancing a , entertainment for no. charg » ntf (than the 70c cover. •• --.Haze, Statlcr-Hilton, Balias Dallas,' April 5. Grade Fields . Bob Cross Orch (12); $2-$2.50 cover. ■ In her second U.S. nitery show¬ ing in 10 years, Grade Fields scores heavily in a 50-minute out¬ ing of songs and wit that keeps the tablers happy with laughter and nostalgia. British-born comedienne, in for two frames at the Empire Room, held a full (250) crowd in proving why she’s been a show biz star for a half-century. Punctuating between songs with dialect comedy bits, the English music hall star utilizes show sayvy with her tricky voicings, with the hilarious “Wickedness of Men” “Walter, Walter,” “Don’t Be Angry With Me, Sergeant” and “Biggest Aspidistra.” Then the sublime— “Christopher Robin Saying His Prayers,” “September Song” and “Love Is Many Splendored.” Added is her wartime trademark, “Now Is the Hour”—and encore is “Rose Tattoo” for a hefty mitting and begoff. Bob Cross’ orch remains a big fave with floor filling terp sessions. Bark. Flamingo, Las Vegas Las Vegas, April 15. Margaret Whiting, Dick Contino, Bruxeilos (2), Flamingo Starlets ( 9 ), Morty Jacobs, Louis Basil Orch (11); $2 minimum. An over-abundance of music Without respite gives this Mar¬ garet Whiting-Dick Contino four framer an added length actually not recorded on the stop watch. Even the Bruxeilos begin their comedy-gymnastics with a bit us¬ ing violins, but forego fiddling for flipping. Traffic should average well; for the span.' Pacing is slow throughout. Miss Whiting, who usually zips right along “in song and who usually sup¬ plies extra punch with her ad libs, is confined to a set act. If the old relaxed manner returns, the thrush can step away from the formalized presentation and give with her usual manner. Her warbling, as always, is very good, true to pitch, and thoroughly experienced. Bal- lading is best in “Mr. Wonderful,” and “End of a Love Affair”; the tribute to her father, the late Rich¬ ard Whiting, is managed well in the singing, but the set is not pre¬ faced well in wordage. After a ringside jaunt in her closing “So Long,” she exits toward the casino through the house—a neat hint, but lacking in dramatic force as finale to the songalog. Dick Contino, who is perhaps the flashiest' accordionist on the cafe circuit, is not content to perform on his chosen instrument alone, but expends energy and time in crooning. The resulting session adds up to more of a cocktail lounge set than a sock nitery act. Whenever he polishes off a rous¬ ing tune on the accordion, how¬ ever, the tablers give with the big mitts. Bruxeilos play for comedy in their prime turn, plus serious work of completing a number of flashy physical nip-ups. Strong finish is a back flip by the smaller frere from the shoulders of understand¬ er to floor while holding a tray of glasses filled with water. Ron Fletcher’s Flamingo Starlets charm with “Paris” concoction, and finale “Gal With the Yaller Shoes.” Lat¬ ter has Contino and Miss Whiting dueting the- vocal. Lou Basil conducts excellently, and Morty Jacobs handles the Whiting keyboard accomps har¬ moniously. Will. El Morocco. Mont’l Montreal, April 10. Robert Claiy, Diahann Carroll, Malley Sc Margot. Maury Kaye Orch (7), Buddy Clayton Trio; $1- $1.50 cover. Diminutive Robert Clary’s off¬ beat comedies and singing score heavily with El Morocco patrons in current layout, despite fact he is relatively unknown other than via the film, “New Faces,” which played Montreal some time ago. Loaded, with energy and self-as¬ suredness, Clary opens briskly with “Lucky Pierre,” does a hoked- up bit about kid triplets and en¬ cores to plaudits with “I’m In Love With Miss Logan” from “Faces.” His impresh of a band singer which gives him a breather is a trifle flat and could stand a broader gim¬ mick and general sharpening for a room such as this. Even though Clary is in a bilingual room, he stays with his standard format of basically English songs with excep¬ tion of “Alouette,” which he uses for a sock begoff. Songstress Diahann Carroll has looks, figure and the pipes to soon establish her as a comer in the chirp biz, providing she relaxes and realizes (which* should* be ap¬ parent by now! there 'is- quite a difference between a theatre crowd and a collection of cafe celebrants. On night caught, this attractive femme had stiff competition, from ringside gabbers and the rather petulant air that developed during the songfest took the edge off over¬ all impact. However, despite this she turned in a solid session. A tendency to put too much emphasis on complicated arrangements is apparent in some numbers and seems unnecessary in view of the talent and appearance displayed throughout songalog. Dancers Malley & Margo open show with a group of rhythmic Afro-Cuban dances that set a good pace and display this hep sepian couple to best advantage, particu¬ larly the femme half of the team. Maury Kaye's orch backs show handily with the Clayton trio cut¬ ting dance interludes for the cus¬ tomers. ' Newt. Lido de ’Paris (FOLLOWUP) Paris, April 10. The Lido probably gives the best revue nitery show in the world to¬ day. The drive, invention and tak¬ ing spectacle on this entry, “Voulez Vous?,” looks better now than when viewed on opening night six months ago. Geared into a tighter pacing and kept fresh and well limned, this moves in an express manner and adequately attests to the SRO every night. Only the Goofers ( 6 ) are lacking, blit they were only signed for a beginning impetus. Though they scored here, they are not missed. Girls look better than ever, and tightening of dance intros .and rapid changes, interspersed with a bevy of excellent acts, which show up even better under the fine showcasing knack of Pierre-Louis Guerin and .Rene Fraday, make this a bright bargain for a $6 mini¬ mum. Carsonys (3) do their deft aero stint with .a svelte perfection, Bogdy Bros. (2) do an ingratiating footsies number which raises it to an art. One backs to a table and kicks the other around in grace¬ ful arabesques and somersaults. Harrison & Kossi add their flash¬ ing, frenetic iceskating stint, Kess¬ ler Sisters (2) supply terp and tasteful looks ,and two leads, Dom¬ inique and George Matson, supply yocks. Dominique’s deft pickpock¬ eting cleans out the all-too-willing audience, and Matson’s mime to disks possesses an inventive, satiri¬ cal flair to make him one of the most original entries iq this genre. Add the choreographic knowhow* of Donn Arden, the exuberant cos¬ tumes and the nudes, plus fire¬ works (real) and the dancing waters, to make this a most re¬ markable entry with no lingo bar¬ riers to stop the bevy of tourists who will mecca to this nitery. Present show will be replaced in December by an all new' affair, and' already being envisaged is a swimming pool with a large cover¬ ing mirror for all to see the Blue¬ bell Girls turned mermaids. 1 Interesting sidelight is the American penchant to come into the club and stick completely to the special-price menu and mini¬ mum, both for eating and drink¬ ing, feeling that people are out to take them. Paradox has the French giving the club better biz since they eat around a meal and take that second bottle of grape, since they sit through both parts of the show. Be that as it may, the ni¬ tery plays .capacity every night, en¬ abling them to give a new show every year to always get the biz of the perennial travelers. But a sec¬ ond ogling points out that this en¬ try is easy on the orbs and 6 an be seen a few times. Mosk. . Steuben’s, Boston Boston, April 6 . Lee Allen, Janet Grey, Don Den¬ nis, McCaffery & Susanne, Tony Bruno Orch (5), Harry Fink Trio; $2.50 minimu/m. Lee Allen gets boffo mitting here with his zany “Figaro” mim¬ ing off.a record and scores with an African jungle bit replete with birdcalls and animal noises. Allen, a sight comic last seen here at the Bradford Roof, has added a new fillup, a flash finish on roller skates to taps, which goes over in smash fashion. Allen’s zestful miming around the stage is infec¬ tious.- Janet Grey opens the show with some fancy ballet spins and twirls. The blonde looker gets a big round of palm-whacking at the finish when she -takes off skirt of cos¬ tume and goes into series of fast- paced twirls. Don Dennis, singing emcee, is off on a musical comedy kick with a hotsy rendering of “June Is Bustin’ Out All Over,” among others. McCaffery & Susanne, caught at Blinstrub’s two weeks back, get big aud mitting with their clever dance pantomime of young lovers. Tony Bruno cuts a nicely-paced show and: Harry Fink Trio pleases . for tire • dance ’ sets.' Guy. Basin Street, N. Y. Duke Ellington Orch (15) Cwith Johnny Hartman), Leo Stein Trio Morgana King; $1.80 admission $3 minimum. , This Broadway jazz spot, which recently resumed operation on a full-week rather than on a week¬ end basis, is in . the groove with the current layout. Led by Duke Ellington’s organization, this is a swinging package all the way. Ellington is 'back with his old orch- virtually intact. Even alto saxist Johnny Hodges, who exited the band a couple of years ago to set up his own combo, has re¬ turned to the fold and the lineup includes such standout sidemen as Harry Carney, Cat Anderson, Rus¬ sell Procope, Paul Gonsalves, Jim¬ my Hamilton and other Ellington vets. When this crew is right, it cre¬ ates the jumpingest and most rich¬ ly textdred jazz of any orch in the business. As always, the Ellington book includes his great standards, such as “Black and Tan Fantasy,” “Jack The Bear,” “Solitude,” etc., all exeQjt.ed with a precision that comes from a band that has been together for several decades. And even though some of the sidemen look bored on stage (and that is a definite flaw), it doesn’t seem to affect their musicianship. Two fine vocalists are featured on the bill. Johnny Hartman, who sings with the Ellington band, has fine pipes and a smooth style with which he sells 'ballads and jump numbers. Morgana King, a Mer¬ cury Records songstress, also reg¬ isters strongly with the jazz buffs. She has well-controlled pipes for the glissando passages and her phrasing is smartly handled. Miss King is backed by Leo Stein’s trio, which .also dishes up some standout swing sounds in its own slot on the show. Stein hits the keyboard with an inventive, freewheeling technique that builds into a commanding routine, even in such a relatively large room as this. Herm. Hotel Muehlcbach, K. €• Kansas City, April 13. The Gaylords (3), Tommy Reed Orch ( 8 ); $1, $1.50 cover. The Muehlebach is staking it all on one act for the fortnight in the Terrace Grill with the Gaylords playing their first stand in town. Show of 31 minutes shapes as mod¬ erately entertaining, but house may benefit on the strength of the trio’s rep via their Mercury plat¬ ters. Lads take right off on “Just a Little Kiss,” Don Rea at the piano, Billy Christ on string bass, and Burt Bonaldi at the mike. Three •warble a smooth medley of “Isle of Capri,” “Ramona” and “Tell Me You’re Mine,” then switch to nov¬ elty version of “Love I You.” Their hit disk. “From the Vine Came the Grapes,” brings nice hand from the house. They have an interlude of comedy around “Mama and Papa Polka,” and then register with “Little Shoemaker,” their best recording to date. Another comedy session gives each an individual spot, and there’s some effective by-play on foreign tongues and accent and broad mimicry. Medley, of old timers finds them in top form, closing with “If You Knew Susie” to fine hand. Quin. Savoy Hotel, London London, April 15. Dickie Henderson, Bob .Ham¬ mond, Trio Frediani, lan Stewart with Savoy Orpheans, Francisco Cavez Orch; $5 minimum. Dickie Henderson, who replaced Eli Wallach in the London edition of “Teahouse of the August Moon,” has a light and easy style and a fluent delivery of patter, which comes across to good rqsplts. The act, however, sags because of too many outdated gags. The best part of his 15-minute stint comes to¬ wards the end, with a fascinating mime sketch, showing a sculptor at work on Venus de Milo. For his curtain call, he scores with his im¬ pressions of the various degrees of laughter which come from an audi¬ ence. There’s strong novelty values in Bob Hammond’s act with his per¬ forming cockatoos. His birds dance to the “Merry Widow Waltz, per¬ form acrobatics on a cross bai, strike a bell to instructions, have fun on a roundabout and storm a fortress with cannons. Good stuu and enthusiastically received. . , The Trio Frediani, a Spanish acrobatic troupe, has a whirlwind routine, which features several un¬ conventional stunts. Show is ade¬ quately backed by Ian Stewait s Savoy Orpheans, who also snai the rostrum- for dance sessions with the Francisco Gavez Rhythm orch. .. MV*