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12C DEMOCRAT AND CHRONICLE. ROCHESTER, N.Y., WEDNESDAY, NOVEMBER 28, 1984 640 W. RIDGE RD. IN THE WEST RIDGE SHOPPING CENTER WED. 9:30 PM FRI.
special what's doikc Today If 1 I 1 Dolly Parton Kenny Rogers WHOLE 8 to 10 LB. AVG. YOUR CHOICE GREAT FOR BA BONELESS orTtIIIs 79 (SIRLOIN TIP II FRESH MADE LINKSN NEW ITEM FRESH LEAN 5 LBS. OR MORE ITALIAN "sIiced GROUND SAUSAGE dacon CHUCK 1 1 Jl 1 ERESH LEAN 14 T016 UB. AVG CHARGE FOR CUTJINQ A A fiMIE I'lifiii i ndiiELESS BEEF GUTLETS ffl FRESH STUFFED breasts stuffed BONELESS CENTER CUT ThIcken CENTER CUT PORK CHOPS cordon bleu PORK CHOPS ,39 lb 4 9 lbJ Now that's a hot Singers get into holiday spirit early, tape show in summer 3y Jerry Buck Associated Press LOS ANGELES Dolly Partem and Kenny Rogers get into the Christmas spirit early with one of this season's first holiday broadcasts a TV special that actually was taped last summer.
"It's not easy writing Christmas songs in the middle of summer," said Parton. "I drug out all my Christmas decorations, and we had Christmas in Palm Springs. I had to get in the mood." The one-hour special, Kenny Dolly: A Christmas to Remember, will be telecast this Sunday on Channel 10 at 8 p.m. and will features five original Christmas songs written by Parton. Parton said it was the first time she'd ever attempted to write a Christmas song.
"We did the album in July, the special in August. I think we did a year's work in two weeks," she said. "It was a lot of work but I had a lot of fun, too." "It was physically tiring," added Rogers. "We worked long hours, but it was creatively rewarding. I remember telling Dolly a joke at midnight Parton interrupted, saying, "If he hadn't, we'd have finished a day early." Although they were casual acquaintances, the two singers had never worked together until they recorded Islands in the Stream, a hit single in 1983.
"We were trying to find a way to work together again soon," said the white-bearded singer. "We wanted to top ourselves, yet we didn't want to compete with our first record. "I had a Christmas album coming Up and that's when we got together again. Dolly contributed five new songs. I had some commitments from CBS because of the success of The Gambler, so it looked like a good idea to make a special of it" The two singers occasionally ran into each other at awards shows, where Rogers has picked up three Grammys and Parton has won three Grammys and six Country Music Association Awards.
Parton had opened concerts for Rogers, and he had done a guest spot on a TV show with her. "But we'd never really sung together until our first record," said Rogers. "That's the fun. Dolly, like me, is best when she screws up. I remember once on an awards show she screwed up and she said live on the air she'd screwed up.
That's what the audiences love to see the unexpected." Their association doesn't end with Sunday's special. For the first three months of 1985 they'll be on the road doing concerts three days a week. Will the two country and western stars ever do a movie together? "I know we'd enjoy doing a movie," said Rogers, "but we need a vehicle that works rather than just finding something to get us together." Noontime at Hochttein Concert: John Wiesenthal, guitar, Hochstein Music School, 50 N. Plymouth p.m. (free) Children's Film: Haley's Gift, Lincoln Branch Library, 939 Clifford 10 a.m.; Winnie the Pooh and Tigger Too, Fairport Public Library, 1 Village Landing, 1 p.m.
(free) Folk Music for Preschoolers: With Mit-zie Collins, Rush Public Library, 5977 East Henrietta Road, 9:45 a.m. (free) Forum: Gaps in the System tor Delinquent Youth: Programs and Law Guardian, Forum on Justice sponsored by Judicial Process CommissionGenesee Ecumenical Ministries, St. Luke's Church, 17 S. Fitzhugh p.m. (325-7727) Tonight Theater: Billy Bishop Goes to War, GeVa Theater, 168 S.
Clinton 8. (Last day Dec. 15: 232-1363) Ice Capades: Community War Memorial, 100 Exchange 7:30. (Last day Dec. 263-2680) Concert: Eastman Brass, Kilbourn Hall, Eastman School of Music, 26 Gibbs 8.
(free) Film: Isadora Duncan, The Biggest Dancer in the Wortrf( 1966); Pas De Deux (1968) and 7ea7a(1977), Dryden Theater, George Eastman House, 900 East 8. (271-4090) Film: Showboat, Scottsville Free Library, Main 7. (free) Lecture: Antique Oriental Rugs, Rod Taylor, presented by The Rochester An-. tiquarian League, Garden Center of Rochester, 5 Castle Park, 8. (436-1398) Lecture on Arthritis: Joint Ventures: Past, Present and Future, Dr.
C. McCol-lister Evarts, Hubbell Auditorium, Hutchison Hall, University of Rochester, 8. (free) Planetarium Shows: Strasenburgh Planetarium, 657 East The Skies of Autumn and The Star of Christmas, 8.1442-7171) Reading: Poet Stewart Brisby. Community Education Center, St. John Fisher College, 3690 East 8.
(free) Children's Program: November Celebration, bear films, stories and teddy bear contest, Charlotte Branch Library, 3615 Lake 6:30. (free) Family Program: Genesee Storytellers, Gates Public Library, 1605 Buffalo Road, 7. (free) Program on Sexually Abused Children: Byron-Bergen High School Auditorium, 7-9. (free) Dedication Ceremony: By Golden Link Folk Singing Society, of collection of folk music books and related materials to Rochester Public Library, the library, 115 South 7:30. What's Doing appears Sunday through Friday in the People section.
Send your information to Calendars, Gannett Rochester Newspapers, 55 Exchange Rochester, NY. 14614. Jazz pianist no longer improvising a career FROM PAGE 1C between doing the jazz standards and doing the Bartok. I'm performing music that had already been written by different composers. All I have to do is understand and inhabit the language of that music." Keith Jarrett will perform Bartok's Piano Concerto No.
3 with the Rochester Philharmonic Orchestra tomorrow at 8 p.m. and Saturday at 8:30 p.m. in the Eastman Theater. Isaiah Jackson will conduct the program, which includes Hindemith's Symphonic Metamorphoses and Rimsky-Korsakou's Scheherazade. Tickets are $19, $15, $11, $8 and $6, and are available at the RPO Box Office, 14 Gibbs or by calling 454-7091.
Art Tatum streaming together downriver in a canoe." Jarrett insists he never knew what would happen when he sat down to improvise. "If you do know, then it's time to stop," Jarrett said. "It was like a purposeful torture. It's presumptuous to have nothing planned to say, sit down at a piano, and expect 90 minutes of music to come out. How often can you put yourself through that?" Now, said Jarrett, his days of improvisation are over, at least for the time being.
It became too safe, he said, too trendy. What's more, other musicians Jarrett mentioned pianist George Winston with some distaste are trying to do the same thing. BUT BECAUSE he's not improvising, Jarrett said, that leaves more time for composing, and he has recently completed several pieces, one a sonata for violin and strings, another for flute and piano, that will be performed in the near future. Asked whether he would go back to jazz, Jarrett paused: "I don't know there's only a certain amount of time in the day." He added that he doesn't like to compartmentalize his music. "There's not that much difference he remembers one teacher who forced him to play nothing but Bar-tok and wouldn't let him use the pedals on the piano.
"Naturally, for a while I disliked Bartok intensely," Jarrett said. "It took a while to get over that." Jarrett got into jazz after a brief stint at the Berklee School of Music in Boston. In the mid-1960s, he first achieved recognition as a member of the Charles Lloyd quartet, and in 1969 Jarrett formed his own trio. In 1970 and 1971 he played with Miles Davis almost every important name in contemporary jazz, it seems, once played with Davis leaving in 1972 to perform with his own quartet. UNLIKE OTHER Davis alumni, such as Joe Zawinul and Herbie Hancock, Jarrett did not move in the direction of jazz-rock fusion, but chose to remain with traditional instrumentation.
Indeed, Jarrett has never liked jazz-rock, and still doesn't: "I think everything I said about it has come true. Jazz is about personal struggle, and even about social struggle, and if you decide to just play games with what we already know, then you take the struggle out. Now we're just saying, 'Well, let's go to sleep with some kind of rhythm Although Jarrett 's quartet work was well received, his greatest popularity came from a series of improvi-sational concerts many performed in Europe or Japan that featured simply Jarrett, a grand piano and an audience. His improvisation includes elements of classical music, blues and gospel. Stephen Davis, writing in The New York Times, once described a Jarrett concert as "something like Chopin and (jazz pianist) IN DOWNTOWN TORONTO rij (i irtt- fe.
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