The Los Angeles Times from Los Angeles, California • 97

CoflAnaetes Stones 4 Part VI Friday, July 17, 1981 raus I JAZZ FILMS SCREENED AT CARMELO'S SKiNORKT -I um tomn LONE. "An ambivalent, darkly joyous rclatiomhip-pait duct, part dud-fur rwoankcsoniely resourceful actrcuo. ULLMANNhanevcf been more radiant. RKI)1ANi exquisite. ACAPIIYVIING COMBINAITOV Gmt cosmopolitan IKY(XlSKF-RIClLRirS lUINGSNX'UW NKURBFOlTIK'niK SAMF.

AGAIN." DAILY i 3:00 MUSIC HAlp -SCKNKBYSCKNK RiaiRisniicsiLvs PIAYFRSCIVM'SA kfjjjnc; WATONK A BKRGMW FILM. IJVl'lJALVWSbttt ptifimiuiK-c in FjielUh. She cnrjto tin- inner IjiuduaiK 1 if a mihiuii." lit I'llllUIIII "liTKRAIl-: AM) SHARPLY zn-tat APFRFORMWCKOF vcnav wtmnm mt ni I fmsnl I ftTI 7MMmi- A LAOO COMPANY RELEASE ifrnma Willi MC(WM(ll(MCOWM 1 IIONIJ)." plavbov Gray playing sax with Count Basie. Thelonious Monk on a 1959 TV program, and Dizzy Gillespie in a unique duet with Armstrong, one of their very few joint appearances. Introduced by Jackie Gleason, they sang and played in "The Umbrella Man" on this priceless strip of celluloid.

No less intriguing was the sight of Miles Davis leading his combo, with John Coltrane and a rhythm section, in "So What," from a program produced and emceed by Robert Herridge. The passage of 22 years has wrought so many changes in Davis that it was a riveting experience to see and hear him playing with the full tone, technical command and melodic creativity that marked his work at that juncture. Coltrane's solo was another breathtaking sequence, bringing midfilm applause from a totally engaged audience. Judging by the reaction to the entire presentation, Mark Cantor seems likely to be brought back to Carmelo's soon, along with other gems from his audio-visual art gallery. 11' By LEONARD FEATHER Carmelo's in Sherman Oaks was the scene of a novel experiment Wednesday when Mark Cantor, who has one of the most extensive collections of jazz films anywhere, assembled a series that covered two generations, from pre-swing to late bop, and screened them between live sets by pianist Bill Mays' trio.

Although the sound quality was fuzzy on a couple of the earlier selections, nothing could dim the historical and musical impact of these clips, assembled from movies, soundies, Snader Pelescriptions and, in the more recent items, television. The five soundies (visual juke box shorts from the early 1940s) comprised one tune apiece by the Duke Ellington Orchestra (with Ben Webster playing his famous "Cotton Tail" solo), Fats Waller, Meade Lux Lewis, Louis Jordan, and the Gene Krupa band in a very rare cut of "Let Me Off Uptown," with Roy Eldridge on trumpet and a 22-year-old Anita O'Day. Louis Armstrong was seen in a three-tune segment from a movie made in Denmark in 1934, when he was at the peak of his powers as a trumpeter of pristine purity, the most influential of all jazz singers, and a consummate showman. In a bebop-oriented segment, Cantor showed Wardell NOW- CERRITOS MOMTCUUI flAZA AWndro 924-5232 Montcloir Dnemo HAWTHWNf 714626-3534 Hawthorne 644-9761 HOU.YWOOO Pocitic i World 469-5866 Con Theatre For Showtime TARZANA Movies 996-1300 WESTCHESTER Loyola 649-3080 MATINEES DAILV AT MANY THEATRES HOUYWOOO Clinton 461-3064 RE DON DO IEACH Marina Cinema 372-1109 SANTA MONICA Criterion 451-8417 EAOU DOCK Eagle 256-3996 FOUNTAIN VAUfY Family Twin 714962-1248 GARDEN OROVE Valley View 714894-5338 "DIETRICH MEETS BOWIE IS A MOMENT OF MOVIE HISTORY." 0 -NEW YORK DAILY HCWS ULLNrp titwut i.ai-.,a(.' CONl 'i iC 1 1 1 Xi A i H'l it Exclusive Engagement NOW SHOWING KIM NOVAK SYDNE ROME MARLENE DIETRICH NUTMN URTl HAL RANTER'S 'PEABODV TO OPEN Producer-director-writer Hal Kanter is staging the West Coast premiere of Enid Rudd's "Does Anybody Here Do the Peabody?" It opens Thursday at Richmond's in Hollywood. MANN THEATRES ICONTINENTAL UHKLM8" I MONICA inmmaT Ml 1111 I 1-41I2 l-l IFmE KBTS QTIi Dolly 4:00 :10 PM MON-FRI: SAT.

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