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Wednesday, March 5, 1958 VKSTETT NIGHT CLUB REVIEWS 71 Latin Quarter, N. Y. Lotiri Quarter Pollies, starring Kirby Stone Four, with Peiro Bros. (2), Beveriee Dennis, Chandra Kaly; Jamal Sisters (2)., Martha Anri Bentley, Bob Kennedy, India Adams,, Ja Lombardi Orch ,, Latin. Quarter Eye-Dears (6), Latin Q. Petites (10); $6 minimum. 1 Current, show at this popular, stop. on any visitor’s trip to -N.Y. differs little from the previous one except for the added lift from two new acts. This Ed Risman managed establishment has a natural in the Kirby Stone Four and Beveriee Dennis is a happy addition. ; , Stone quartet is the same one which played the Copa in N.Y. a couple of years ago. But it's so greatly improved and streamlined that the combo hardly would be recognized as the same act. The foursome obviously has measured tip to its strong potential noted at that time. The patter is so sharp that the dinner crowd picked it up quickly, with tremendous results. Outfit recently was On - Ed Sulli¬ van’s, tv ^how, and goes with him to Lais Vegas. . Originally an instrumental combo -—bull fiddle, trap drum, accordion and trumpet—today it is a highly uproarious comedy act, predicated on the warbling proclivities of the boys. Highlight of all this nonsense, or the one which starts things roll¬ ing, is. the songalog routine, imper¬ sonating film and tele personalities, by Larry Foster, His takeoffs on Elvis Presley, Boris Karloff, Arthur Godfrey, Jimmy Stewart and Lib- erace (singing ‘‘Lazy River”) are A-l. He returns, to doa trim im¬ personation . of Al Jolson. The quartet’s emulsion of how a British act in London would handle the “St. Louis Blues” and rock ’n’ roll really wowed them here. It is a priceless bit of buffonery. Kirby Stone is in and 'out with his trumpet* doing bits and generally emceeing; the others are Eddie Hall, Michael Gardner and Foster, Gardner is the droll one with a guitar who gives just enough con¬ trast to the other proceedings. The Peiro Bros, amaze with their . new and old feats of juggling and twirling. These two boys have geared their current turn to the nightclub scene; with a tremendous payoff. . Beveriee Dennis (New Acts) fits in nicely if not sensationally with her comedy monolog. Remainder of production follows rather much the old pattern With the Jamal Sisters clicking, per usual, with their belly dancing. . . • . Show is backed by Jo Lombardi s veteran combo with real aplomb. He also provides music for most of the patron dancing, with Buddy Harlowe on the interlude hoofing music. Wear. Ing with the Dorothy Dorben line, rates a fine, hand for her singing and danders Bob Thompson, and Joanne Duncan, also working with the line, show, real pro polish. Sets and. costumes throughout are ex¬ traordinarily good and colorful, Bob Moonan’s incidental music is pleasant and Alex Duchin’s orch is satisfactory. The 65-niinute show runs through March. 19. Stef. Hotel Muchlcbach, K. C. • Kansas City, Feb; 28. Ciro Rimac. Revue (.8), Carl Sands Orch (8); $1-$1.50 cover. . 365 Clnb, San Francisco San Francisco, Feb .27. Jack Marlin, Jeanhie Johnson, The Classics (4), The Peop-ettes (2), Coby Yee, Bill McCubbin, Diane Berman, Angel & Jack My- Ten, Allan . Cole, Dorothy Dorben Dancers (8) with Bob, Thompson and Joanne Duncan. Alex Duchin Orch <9); $1-$1.50 cover. Bimbo GiUntoli has staged a big, lavish musical revue with consid¬ erable local talent and lots of at¬ tention to detail. But it doesn’t quite come off, possibly because more rehearsal is required, pos¬ sibly because the acts should be more carefully integrated.. On the plus side are Coby Yee, a fine Chinese stripper, the ■ excel¬ lent' Dorothy Dorben line and cost tumes, the singing of Allan Cole and the comic Singing of plump Diane Berman. Each of these num¬ bers in this “San Francisco Holi¬ day” revue is good, With Coby Yee’s act, and hand-made costumes, a standout. On the debit Side, how¬ ever, are Jack Marlin, who is evi¬ dently a standup, comic with ma¬ terial dating back to the Florida boom of the mid-20’s; and the Classics, a male quartet whose ren¬ ditions of “Chinatown, My China¬ town,” ‘/California Here I Come,” “I Need You So” and “Ace in the Hole” and have the common fault Of a far too deliberate tempo. Per¬ haps with experience these Sacra¬ mento bovs. who have good voices, can make their numbers sound like something other than dirges—but not right now.; The Peop-ettes. (Joe Kalb & Abbe Shelton) do a puppet-show singing act using human faces, but on Opening night didn’t get a square shake because the sound system was fouled up by-the Wrong tape. This is a minor peril of the elec¬ tronic age. . Bill McCubbin is a teenage rock V roll singer whose version of “Don’t Knock the Rock” tends to be imitative, and teen dancers An¬ gel & Jack Myren fail to leave much of ail . impression with the customers. On the other hand, beautiful Jeannie Johnson, work-i Latin rhythms and verve have been the specialty of Giro Rimac for some time, but this is his first stand in K.C, with bis : latterday revue. He’s offering a combination package, of show, and dance rhythms, and is sure to make it .a topnotch evening for the Terrace Grill nightly during his two weeks here. Rimac leads a troupe, of three femmes and four musicians, and they give a show that is zing and zest for a lightning fast £0 minutes, then augment the Carl Sands orch for another quarter-hour of special. Latin rhythms for customer danc¬ ing. Three girls are all prime Latin lookers. Rubita, Reinita and Car- mencita chirp: and terp practically everything in the south-of-the-bor- der book with Rimac as m.c., con¬ ductor and partner.; The snappy route hits on the Afro - Cuban, mambo, cha-cha, tango, samba and rhumba, and the mefengue, latter a specialty of Car- mencita. They segue from the show into the dance session With : the femmes and Chartey Boy, the Rimac son, bringing out customers as partners.. Then its everybody dance, and the boor is quickly filled as the combined orch-revue rounds . out ai 45-minute show- dance. All of this is especially en¬ ergized in the established Rimac fashion, claves clicking,, maracas shaking, bongoes banging and vo¬ cals by Rubita. There’s no more genuine Latin-Americari revue go¬ ing, and it meets with favor here; Next in will be the Harmpnicats, March 14. Quin. London House, Chi Chicago, Feb. 25. Carmen Cavallaro Quartet; $3 minimum Sat. only. Carmen Cavallaro; combo is mak¬ ing its first Chi date with this four- weeker, and the pianist’s name power, coupled with a break in the coldwave here, should make for brisk biz. ’Tain-t jazz, though, and that’s what this, room has been showcasing until now. • : Unites library, save for a current schmaltzer here and there, is a forest of evergreens. In full bloom at the set caught were “Begin the Beguine,” “Continental,” “Time On My Hands,” “The Very Thought of You,” and a nod to the classics with “La Mer.” Concessions to the pres¬ ent are “Fascination" and “Around the World.” 88’ef; exploits to good reaction his sbundtracking for the Eddy Duchin biopic, namely “Man¬ hattan,” “Brazil” and a Chopin etude. •. Nothing atonal in the program; It’s a concert in melody, per the usual elaborate Cavallaro. arrange¬ ments*, that get Off his technical brilliance. His keyboarding domi¬ nates all the way, a sensible de¬ mand on his. long credits in various media.. There’s r enough arranging* though, so that Jim Norton’s elec¬ tric guitar and Buffy’Dee’s drums emerge now and then to good ef¬ fect. Pit- Hotel Monteleone.N.O. , New Orleans, Feb/28. . Jean Shannon & Brooks Bros. (3), Nick Stuart Orch (7); $4 mini¬ mum. Despite Lent, business in this plush spot is holding up nicely with. Jean Shannon & the Brooks Bros., bouncy singing and dancing trio, generating plenty of audience en¬ thusiasm with their fast-paced turn in hostelry’s Swan Room. Youngsters have grown in sta¬ ture since their first engagement here. Their 40-minute revue is packed with songs embellished by choreography, vocal backgrounds by the freres and a smattering of lively chatter that is saleable. Husky-voiced Miss Shannon, a shapely blonde, muggs, belts out tunes in a powerful voice and ca¬ vorts with boys, Who give .her top-, drawer support. Act’s , most effec¬ tive bits are, a calypso production number highlighting the tunes, “Having A Heat Wave” and “That’s Right ” and a “Roaring ’20s” num¬ ber with a fracturing Charleston but done in authentic costumes that is good for plenty of guffaws and palm-pounding. Kids knock themselves, out to entertain and win approval of tableholders. Liuz. Latin Quarter, M« B'ch (FOLLOWUP) Miami Beach, March 1. , Milton .Berle &. Co. finally made the .oft-postponed date they had With this Beach landmark, and it’s a happy event for all concerned with the LdeW solo-operated plush- ery. getting - the big-'crowds that spell return of long-missing profit margins. : Berle’s impact in this return to the area is of talk-of-the-town pro¬ portions. His timing, as regards, the date finally selected for begin¬ ning of his three-week .run (through mid-March) . Was either shreWd anticipation or else close communion With the weatherman. For with his advent, the warm days missing all . winter suddenly; re¬ turned; the town began to.get the long-awaited. guest fillup,, all eli-; maxed, by an opening midnight ses¬ sion that is. still being talked, about around the afterdark circuit here; the word-of-mouth build hit full force in following days to keep the reservations ledger filled: to ca-. parity. In the Bonn Arden; smooth' pro¬ duction frame Berle is given a strong fulcrum for.. his comedy spin-outs. He quickly \vorks into the opening group routines, getting himself , involved to set the. buf¬ foon’s character early and to im¬ mediate howls: When he parades his gag-bag at total-recall turned into fresh twist lines, then iritroes stock company. of solid acts, the pace maintains a zip that sets Well with the zany air engendered On his own, Stan Fisher clicks with his virtuoso-tinged harmonica ex¬ tracts, and displays flair for straight and as comedy foil for Berle. Ditto Betty George, another longtimer in his troupe who man¬ ages to get off one palm-plaudited arrangement before she. becomes entangled in the Berle bufoonatics. On night caught, the big scream quotient was plussed when her bo¬ dice zipper came undone, resulting in an unsuccessful try at. holding, on; with Berle lending an “assist,” it.Wound up in some broadly, funny biz,' The standard segment with the Metropolitan Sextet is as effective as ever,' laughs coming high and steady as he pantos, muggs, be¬ comes Ov.eriy fascinated in the cleavage of the tall femme soprano* the swish-tinged bit with the bari¬ tone. The switch to straight hoof- , ery with near-show-stealers, the Dunhills and their precision and challenge dances, is the topper bringing tablets’ pounding for more; Which they got, in the sur¬ prise forms of an in-the-aud name group Catapulted onstage by will¬ ing tablemates:. Walter. Wirichell, Earl Wilson and Roberta Sherwood, then Marie McDonald and finally Dean Martin, followed by Tony Martin. It turned into a melange of crossfire cracks with first one, then another, at the mike. 'The bonus for the customers sent them out talking, but not before many- boWs demands taken by Berle & Co. • Doiul Arden 1 has kept -the pro¬ duction on a sharply paced and. freshly costumed level. Martha Er- rolle is a fine looking*, soaring-note lead songstress, while little Gina Gerardi is the pert, dynamic sou- bret; the ensemble numbers re¬ flect the imaginative choreography by Arden. All of it has been kept within the 90-minute tenure, to add to the swift-moving air of the pro¬ ceedings. Lary. Sahara, Las Vegas Las Vegas, March 4. . Dan Dailey r Collins Kids, Four Grads, ' Jimmy Cross, Les Clark, Camille Williams, Johnny Silver, Saharem Dancers: (12 ), Louis Basil. Orch (12.); choreography and pro-, ductioh. numbers, Sonia Shaw, Bill Hitchcock; arrangements Spen- cer-Hagenreostumes, Eileen Youn¬ ger, . Lloyd ^ Lambert; presented by Stan jrwin; $3 minimum^ Moulin Rouge, L. A. Los Angeles, Feb, 26. Ella Fitzgerald, Lou Levy Trio, Tony . Dalli, Dick Stable Orch; §5.50 minimum. Cross and Les Clark are excellent hoofing, partners for Dailey, rand the . trio gets well-deserved yocks With a very funny fan dance rou¬ tine. Johnny Silver’s big voice is used, to advantage in “Pagliacri,” but he makes the mistake of tell- i ing. some , jokes that are too fa- j Frank Sennes is undoubtedly ex- mi l\ar to, Vegas audiences. . penmenting With his current book- Tli.e Shaw-Hitchcock production- ing. of jazz vocalist Ella Fitzgerald numbers are _a .definite asset; and : at the Moulin Rouge. Spot, which conductor Jeff Lewis smoothly ba- generally caters to the family, tons the Louis Basil orch. j trade, will be pulling in the jazz i aficionados for this frame and j mixed with, the regulars, they j should pay off big for this Sunset /nitery. ■ Duke. Riviera* Las Yogas; Las . Vegas,. March 4. Miss Fitzgerald is one .of the Day, DcCastro^ Sisters singers around today, and at '■ ‘ ? 5 ’ Cavanaughs (?>, Dorotny Dor- , Tuesday’s (25) opener proved a : ^. n Dancers U 8); Ray Sinatra Orch : treat for everyone, even for those' • (17); produced by Sammy Lewis; ] patrons.that don’t dig her mode of. §3 minimum. ' ’ singing. Even the so-called squares i . . “—gave her several ovations through- Denhis Day is a dandy in his ^ut the 30-mmute turn. new one-man show, in the Clover T Room. In previous visits here he’s • been surrounded by. ornate sets ., and production numbers, but this ; time; he sings and. jokes in front of the curtain; his only props being j a beautiful blonde Amazon, a few. ;.hats, coats and a mustache; Shir- j ley House carries him onstage for i a gimmick entrance, then disap¬ pears while he sings “Give Them i. All You’ve Got,” interspersed with 1 okay impreshes of Liberace, John¬ ny Mathis and Lawrence. Welk. In good voice. Day includes “Catch a Falling Star,” “The 12th Of Never,” “Sinner Man,” “Around the World,” : “McNamara’s Band," “How Are Things In Glocca Mora?’ .and “Danny. Boy.” Miss House re¬ appears to hand him the costume props while he does an interna¬ tional tv. sketch which gets yocks for the . British, Italian and'*’Jap¬ anese characters’ Writer Milt Ro r sen has provided some topical gags (“Marlon Brando heard he might win . the Oscar, so he’s sent his tux out to be torn”). and conductor-ar¬ ranger George Wyle expertly ba¬ tons the Ray Sinatra orch. The DeCastro Sisters (3) are featured, and lend their familiar stylings to such as “Send For Me,” “Chances Are*” “It All Depends on You”, and their trademark “Teach Me Tonight.”. The girls look very pretty, know how to .sell a song and are capably guided by their conductor-arranger Herbie Dell. Duke. Miss Fitzgerald’s repertoire, pre¬ sented in her usual top fashion, include selections from Cole Porter and Rodgers & Hurt which she previously recorded under , the Verve label- Singer’s regular back¬ ers, the Lou Levy Trio, handle their chores well, as does the house band led by Dick Stabile. For this two-week stand which closes out March 16. Sennes has double-billed Tony Dalli, a young Italian tenor who proved to be a crowd pleaser.. Singer, although handicapped by the English lan¬ guage/ clicks writh his operatic- trained voice in numbers like “O Sole Mio”' and “Neapolitan Love Song.” The one song he does in English is “Love Is A Many Splen- dored Thing,” which also rings true. The boy shows a great deal ot talent and is a good bet for tv guestings. Kafa 3Ir. Kelly 9 s 9 Chi .. Chicago, Feb. 25. Sarah Vaughan (4) f $2.50 -mini¬ mum. .. Dan Dailey is the star, producer and director of a new revue called “Around Show Biz In 60 Minutes,” which presents him in the Congo Room, for his first bistro turn in 20 years. Although the show is dis¬ appointing because its highlights are spotty* it can. easily, be tight¬ ened up to make it a package of sustained^ lofty entertainment. : Dailey scores highest when he’s hoofing,' and here he proves he’s one of the best in the biz. A bru¬ net looker named Camille Williams who’s also very.. talented in the chirping-terping department joins him in several song and dance skits which win them heavy mitting* es¬ pecially one called “He'and She,” in which they’re joined by the Sa¬ harem Dancers (12). : The Collins Kids are featured; the energetic . 12-year-old Larry and his beautiful 15-year-old sister. Lome click with their rock -n’ rolling quitars, being rewarded with hefty applause. The ■ Four Grads, three guys and a gal, are effective in their songalogy, topper being “Trolley Song.” Jimmy Sarah Vaughan brings out the aficionado in Chicago. Singer draws ’em like flies to a picnic spread, and her fortnight at this intimery is a happy foregone con¬ clusion fbr the spot’s bookkeeper. Long established are Miss Vaughan’s technical finesse and the sure control she has over a voice that’s large and rangy. Style and mechanics, hoWeyer, have the up¬ per hand. Warmth is but and in¬ termittent quality* and interpreta¬ tion too often treats the lyric as so much impedimenta to be toler¬ ated,.- • . “Sometimes I’m Happy,” “He’s Gone Again,” “If You Gould See Me Now,” “Linger Awhile” and “Dancing in the Dark”: complete her catalog, last tune especially ef¬ fective., Patter % is economic and in the humble vein. Singer, has excel¬ lent backing from her own trio, pianist Rorinell Bright, bassist Richard Davis and drummer Roy Haynes. . Kaye Ballard and thrush Lynn Roberts are due March 10 for tw r o frames. Pit. Black Orchid, Chi Chicago, Feb. 25. Mary Kaye Trio (6); §1.50 coyer. . Faced with a Sunday (23) Len¬ ten opener to a less than capacity house/Mary Kayo Trio socked out a. 40-minute turn that at begoff had outfronters clamoring with hot palms. Youngsters have been aroUnd hut look to be ageless, in¬ gratiating with fresh faces and big infectious smilos. Their musician¬ ship, per usual, is a freewheeling amalgam of syncopation and point¬ less counterpoint, made wonder¬ fully visual with the body English and madcappery that hallmarks the act. Solo vocals come from Mary Kaye,; and brother Norman, With .rubberfaced Frankie ROss in and out* raises a profusion of yocks -with one-liners, differences with his. comrades and asides, to ring- siders. Tunes are. nearly all standards and Kaye Trio, makes extra points with a spoofed". “Begin" the Be- guine” piped by Norman to off key accordion and guitar backing by his partners, till he too goes sour midst audience howls. Wind , is their trademarked “Up a Lazy River.” Act doesn-t limp fOr a moment* and proves the kids can go it alone in smaller spots like the Orchid,.; Pit. Quagiino’s & Allegro, London - ^ London, Feb. 25. Ron Moody, with Tommy Watt Orch, Roy Wallis, Leslie Baker Quartet. $5.50 minimum. Ron Moody is an engaging young comedian who specializes in im¬ pressions that bristle with wit and observation. He has some claim to being the brightest young man cur¬ rently operating in London’s night club belt. He does a 20-minute act at Quaglino’s and this is extended by a few minutes in the livelier, more intimate atmosphere of the downstairs Allegro room. He begins with a series of im¬ pressions of how various perform¬ ers might put over the Hamlet soliloquy. GroUch o Marx, Crosby, Alastair Sim* Trevor Howard, Nor¬ man Wisdom and the Old Vic Skif¬ fle Group follow in .quick succes¬ sion, and Moody uses only the min-, imum of props and wigs for these caricatures. Then follow imper¬ sonations of an oldtime vaude artist and. a devastating skit on rock ’n’ roll as put over by a top disk artist who, the week before, was a bank clerk. Then come amiable skits on fla¬ menco and a Cuban guitar player, finishing with an Italian gondolier.: Laced with some admirably out¬ rageous puns,: Moody’s patter is slick and up to the minute and, altogether,- the act adds . up. to a polished night club routine. Tommy Watt’s orchestra and Leslie Baker’s quartet handle the dancing and ROy Wallis makes with the piano in excellent intermission sessions. Rich. The Largo, H*%voocL Hollywood, Feb. 25. . Frances Faye, Buddy Lester, Ed¬ die Grady Orch (6).; $4 maximum. Frances Faye has returned to the Sunset Strip, less than three months since her last appearance, this time to enliven things at the LargOi This is a change of pace for this club, which last featured a show aimed at the teen trade. Miss Faye has no new material this time around, aside from the asides with which she drapes and undrapes her musical numbers. The fey Miss Faye has a leer in the eye that gives the most harmless lyric a double and occasionally triple meaning. Her trademark, of course, is the driving jazz piana and she does not slow or stint In giving of this. It is a special act for very special audiences, but for those in the Faye mood, it Is a ball. Miss Faye, among her other un¬ usual inspirations, occasionally chants her own name as a mad lyric to whatever tune she .hap* pens to be flailing away at the pi¬ ano, Eddie Grady’s band gives, her solid backing and does equally Well, in another mood, for dancing. Buddy Lester does a good job of warming up for the Faye fans, us¬ ing his hat.routines and throwaway ad libs and asides for good laughs. Pour..