St. Louis Post-Dispatch from St. Louis, Missouri • Page 34

ST. LOUIS POST-DISPATCH May 23, 1983 Jazz 'V Review 4D Rock Seger, Silver Bullet Still Spell Good Time afternoon of Saturday, April 30, you might start, as we did, with the Golden Stars, one of the rousing Mardi Gras bands who dress like fantasy Indians and play New Orleans soul underlaid with AfricanCaribbean polyrhythms. Then, you could wander over to Stage 4 to catch a few numbers from rock 'n' roll pioneer Roy Orbison stroll pass the gospel tent, where the Crown Seekers had an audience of a couple of thousand clapping and on their feet, and head back south along the winding asphalt walkways to either the festival tent (James Black, contemporary jazz) or the Economy Hall tent (Danny Barker, traditional jazz.) That would give you a brief respite inside out of the sun before you drifted over to the Koindu (African-heritage) stage for the start of the 4:30 parade featuring the wiggling and jiggling and fantastically costumed Saxon Superstars of the Bahamas. If you followed them for a while and continued south when they turned back, you would reach the small stage called the Gazebo, with Bongo Joe whistling, chanting and banging on a couple of Day-Glo-painted steel drums. But you would not want to stay there too long or else you would miss the set on Stage 1, at the southern end of the festival, by Joe Turner.

And you might generational mix Is tremendous. You get kids almost too young to walk out here shaking their tails. And you get people almost too old to walk out here shaking their toils. This is it Gannon danced away, moving in something approximating unison with a woman friend from Sioux City who was wearing a "Bix Lives" T-shirt in honor of the legendary Iowa trumpet man, Bix Beiderbecke. There was not a single "Boogie 'Til I Puke" T-shirt anywhere to be seen.

It was hard to tell which of two equidistant bands Gannon and his friend were dancing to. Sensory overkill can be a problem at the Jazz and Heritage Festival. Stand in the right place at the right time and your internal mixing board can weave together three or four different kinds of music at once. And if you move around a little bit, within a couple of hours you can attend performances of gospel, rhythm and blues, country blues, modern jazz, traditional jazz, reggae, country and Western, cajun, steel drum and rock 'n' roll, and maybe catch a kids' puppet show and follow in the wake of a strutting, umbrella-waving New Orleans funeral band. The schedules are staggered, so if you plan carefully, you can hear an amazing amount of music in a short time.

For example, from 3 to 5 on the From page one the whole life of New Orleans, people dancing In the streets, and translated It to the Fairgrounds. We don't have robberies, we don't have fights. The environment is so nice, and people smile at each other. "I personally think it can be done anywhere, but I hope you'll forgive me for saying that New Orleans is the best place in the country for something like this. People In New Orleans are almost genetically disposed since birth for Mardi Gras, a million people dancing and partying in the streets." Several policemen patrolling the fair, and clearly enjoying the music, said essentially the same thing.

"The only problems we ever have, and those are are not many, are with people from out-of-town," said Sgt. Bruce Christensen of the New Orleans Police Department. "People who live down here are used to crowds. This is nothing compared to Mardi Gras." For some people, the Jazz and Heritage Festival is a lot better than Mardi Gras. "I lived here half my life," said Michael Gannon, a bartender who now lives in St.

Louis. "I've got plenty of places in the French Quarter where I could stay during Mardi Gras. I'm the original Mardi Gras animal. But now I prefer this. I plan my vacation around it every year.

No matter what your taste in music is, its here. And the Hints From Heloise want to stay at Stage 1 after the great Kansas City blues shouter closed his set with his early 1950s hit, "Shake, Rattle and Roll," for the next act: Dr. John, whose richly textured New Orleans funk makes him one of the most popular musicians in town. Or you might just want to get something to eat. For all too brief a time, the New Orleans Jazz and Heritage Festival becomes the biggest and one of the best restaurants in a city famous for food.

That was the judgment of Mimi Sheraton, restaurant critic for the New York Times, and Calvin Trillin, who writes about eating and other life-and-death matters for the New Yorker. They were taken on a tour of some of the dozens of food booths at the festival three years ago, and they both gushed effusively about what they were served. For once, Trillin, who has been known to describe himself as a "glutton" rather than a gourmet, met his match. "We were supposed to go to each booth and be given a small sample of the food," said Trillin, whose eyes grew a bit glazed at the memory. He was in St.

Louis recently to talk about his new book on food and eating, "Third Helping." "Of course, it didn't work that way. Every cook wanted us to have just a little more, and then a little more after that. Fairly quickly, I was stuffed. Mimi Sheraton kept saying things like, 'I want to go over here and just have a taste of this All I could do was lie down under a tree and go to sleep." What did he eat? Below is a partial listing of the foods available at the festival. Creole stuffed crabs.

Oyster artichoke soup. Shrimp etouffee. Frog legs. Deep-fried soft-shell crawfish. Oyster Po-Boys.

Cajun barbecued goat. Creole curried chicken. Red beans and rice. Hot boudin sausage. Muffuletta sandwiches.

Beef pie. Barbecued pork ribs. Soft-shell crabs. Fileted catfish. Creole rice.

Crawfish bisque. Stuffed shrimp. Oysters en brochette. Barbecued turkey necks. Alligator piquante.

Shrimp diablo. Jambalaya. Crawfish pie. File gumbo. Reed, who plays at least half a dozen different reed instruments, thrilled the crowd with his Chuck Berry-style duck walk.

Seger and the band rocked through "The Horizontal Bop" and "Betty Lou's Gettin' Out Tonight" before slowing the pace with "We've Got Tonight." The combination of Seger's piano, Reed's flute and the backup vocals of Mary Kay Lala, Laura Creamer and Shawn Murphy, set the perfect mood for the song. Seger stayed at the piano for the autobiographical "Turn the Page." It was clearly the crowd's favorite number of the show, and they cheered after every verse. Not to be outdone, keyboard player Craig Frost turned in a remarkable Jerry Lee Lewis-style performance when he took over the piano in the evening's finale, "Get Out Of Denver." Newcomer Michael Bolton got a warm reception for an opening set that was short on time but not talent. Bolton and his band members guitarists Bruce Kulick and Scott Zito, keyboardist Joey Melotti, bassist Albert Pasquale and drummer Bobby kept the crowd attentive with crisp rockers from Bolton's self-titled debut album and threw in a few surprises as well. For example, in his drum solo, "Fighting For My Life," the gregarious Mr.

grew bored with his drum kit and began beating on the stage floor with his sticks. By Louise King Good time rock-and-roll returned to the Checkerdome on Saturday in the form of Bob Seger and the Silver Bullet Band. Seger delivered a fine mix of basic rockers, tender ballads and thought-provoking anthems throughout the evening. In addition to the classics like "Old Time Rock and Roll," Seger performed several songs from his latest album, "The Distance," including "Makin' Thunderbirds," a nostalgic look at the autoworkers of the '50s, and "Boomtown Blues," a tune that recalls the loneliness and alienation of migrant workers. "Shame On The Moon," an acoustic ballad written by Rodney Cromwell, was strategically placed between the two rockers for emphasis.

Seger took advantage of the mood change to sit as close to the audience as he could, producing an instant rapport with the crowd. Few performers have Seger's ability to transform a 20,000 seat arena into intimate surroundings with just a song. Although a first-rate guitarist, Seger concentrated on his vocal performance. He relied heavily on Dawayne Bailey and Mark Chatfield to provide the skilled guitar work. Equally vital to the band were the consummate talents of bassist Chris Campbell and drummer Don Brewer.

When Seger announced that it was dancin' time, saxophonist Alto DEAR HELOISE: During the last 28 years I have collected post cards during our travels as well as saved those sent to us by others. I had quite a boxful but realized they were doing no one any good. I had an interesting idea that has proved to be enjoyable for all who see it. We used them to cover 2lA walls in our basement. I tacked them with thumb tacks so they can be removed easily to read the greeting side by whoever is curious about its location or who sent it.

It's a good idea to date them. A stairway or a vacant wall that needs "something" could serve as a good display area. MOM GRAM item is that if vegetable oil was used it may have interacted with the wood that was used. Good hardwood, such as oak or maple, does not have an odor. The solution here is to make the bread box from a good hardwood, such as oak, and then only use a pure mineral oil to treat the box." I know this doesn't help those of us who own a pine or cedar box but hopefully all manufacturers will use a hardwood that doesn't cause such an awful odor and waste of food.

But don't let the boxes go to waste, we've gotten some great ideas for them, other then keeping food in them. KELOISE DEAR FRIENDS: We have received hundreds of letters from you regarding the "wooden breadbox dilemma," and have tried almost all the suggestions to rid the box of odors that make the bread inedible. Many of you wrote saying it is the wood. We received a letter from Paul J. DriscoU, a manufacturer of wood products, including bread boxes, and he confirmed what most of you wrote, that it probably is the type wood.

My secretary's bread box was made of pine wood and according to Mr. Driscoll, "Cedar and sometimes pine do have ah odor and are unsuitable for use as a bread box another important "A sky-high thrill that moves like lightning and soars with Pat Collins. excitement, IP CBS-TV MORNING NEWS ROY BCHEraEH ran mn rw Ai 0 0 I CI II ix it (ROM RASTT.H If 11 II ff Ill HELD OVERA J2NP WEEK WML Qmt. MON TUtJ 4,43, 7KK, 9.11 wtD DAIIT 12:45, 3:45, 4:45, 7:05,9:15 inw iztis, 2iao, 4,43, 7tOOt filSOOUV nrr DAUY litis, 4:45, 7r00, 9:13 OAIIT 1 TOO, 5:15, 5:15, 7,30, 9:45 (mi MUV 7 KM), 9tO0 WID ft THUR. DAM.Y 11:40, 1:50, 3.00, MO, 9:25 I OOUT STTEfO llOO, 3rO0, 5:00, 7K, fcOO mm jiJrniaijrjAr'fiijrAii UOMN MAnNKS-IViKTDAT id A ALL SHOWINGS BEFORE 6 PM.

fi.VV mm IN "SPACE HUNTER" 115 3 15-5 15-715-915 "CURTAINS" DO ROY SCHEIOIR "LUf THUNDER" 30-9 45 LB 1 1 rn "CURTAINS" LB "PORKY'S" CE LIVI ROY SCHEIDER "BLUE THUNDER" CP "PORKY'S" 51 "FLASH DANCE" 1 45-3 45-5 45-7 45-9 45 LB "VALLEY GIRL" LB DAN AYKROYD "DR. DETROIT" 0G "SPACE HUNTER" 1 30 3 30-5 30-7 30-9 30 ID TOM SHUCK "HIGH ROAD TO CHINA" "48 HOURS" 1 HI "MAX DUO AN EirURNS" "CURTAINS" 1 LB ACADEMY AWARD WINNER "SOPHIE'S CHOICE" LB "THE VERDICT" LB "VALLEY GIRL" LB BARGAIN MATINEE Mon. Thru Sat. Until RHS ALL SEATS $1.50 (To Capacity) RHS ONLY Except Sun. Holidays I St of 32 ax lnd 547 3340 MtATHUSS" "TtNMt MUCKS" (IHS 5 00) 7 00 9 00 IfU I 00 3 00 (RHS 5 00)7 00 9 00 LLI PfPRRPTAtToTiKri Wm Stodnjni 24 1 'iMCI HUNTH IN Academy Award Wlnnor Kelt Supporting Acffott "TOOTSIS" 7,30 9 30 7 I I 30 3 30 iHS 5:30) IRM5 4,451 7 10 9 40 'SPACE HUNTER IN "OATIS Of Hill" (RHS 5 30) 7 30 9 30 1175 Mancrwitor Id 9,15 VKMlANfl" 3 15 7 15 227 9300 imd at Na- Hofli lorry 111 2400 'SPACE HUNTS IN SHE FOniODEN ZONE" H5 5 00) 7 00 9 00 Hj May 27th.

It has the support of a large number of diverse groups representing labor, business, farmers, retirees, and health insurers. If you would like to see hospital costs held down, we urge you to make your feelings known now. Contact your state senator and urge him or her to support this important bill. The address is: State House, Springfield, Illinois 62706. Or call 1-217-782-2000, 8 a.m.

to 5 p.m. weekdays. Your effort could make a difference in the fight against spiraling hospital costs. The following organizations are among the many groups that support Senate Bill 495: Illinois State Federation of Labor (AFL-CIO) Chicago Federation of Labor-Industrial Union Council Associated Employers of Illinois Illinois State Council Health Insurance Association of America Illinois Health Care Coalition Illinois Manufacturers Association Illinois State Legislative Committee American Association of Retired Persons Illinois Farm Bureau Metropolitan Chicago Labor Health Care Council VIOtlANTI" (RHS 5 00) 7 00 9 00 to economize. Currently, the federal government underpays for some patients.

Hospitals are forced to shift the cost to private patients. And when they can shift costs they have no real incentive to cut costs. The net effect of this new system would be to slow down health cost increases and preserve the financial strength of Illinois hospitals and the quality of care they provide. Based on the experience of other states, this is the single most effective way to reduce the rate of increase in hospital costs. It's already working in Maryland and New Jersey and was recently put in place in Massachusetts and New York.

WHAT ILLINOIS RESIDENTS CAN DO. A bill that features a prospective payment system been introduced in the Illinois legislature. It is called The Illinois Hospital Revenue Act (S.B. 495). The legislation will be considered by the Illinois Senate on or before Hospital costs in Illinois are running nearly three times the general rate of inflation.

That means more money out of your costs for employers in the form of health and a real threat to the financial well being of our hospitals. You suffer even if no one in your family is hospitalized, since increasing costs cause increasing health insurance premiums. Even if your employer pays all or part oi your premiums, it still hurts you because your company has less money for salaries and other benefits. Further, under the present payment system you pay higher taxes for the rising health costs of the federal Medicare program for our older citizens. THERE IS A SOLUTION There is a system that can help solve this problem.

It's called a prospective payment system. Under it, hospitals accept preset amounts for services and all payers pay their fair share. This woulJ encourage hospitals "POLTERGEIST" HS 4 50 7 00 9 15 pj 'POiTIROf 1ST" (RHS 5 00) 7,15 9 30 70 1 SI SI Eril 946-4111 nN Hcrilt'tfiyRd 3J3.27II "SPACE HUNTER IN THE EOHIOOEN ZONE" (RHS 5,00) 7,00 9,00 "FLASH DANCE" 12:45 2:50 RHS 4:55) 7: 15 9 20 LLI -OATIS Of HELL" 1,00 3:00 MS 5:00 7:00 9:00 "FLASH DANCE" I (RHS 5,20) 7 25 9 30 LLI 1 "SLUE THUNDER" r-, I (RHS 4,45) 7 00 9, 1 5 LiJ 1 '41 HOWS" (IMS 5:30) 7 30 9:30 LT "HIATHLSSS" (RHS 3 00) 7 109 15 'SOMITHINO WICKED THIS WAY COMES" 1 40 3 40 (RHS 5,40) 7,40 9:40 1M ISi Chat Rk Rd I of NW Plato 291.2123 "HUE THUNDER" 'SPACE RAIDERS" 1,10 3,10 (RHS 5,10) 7,10 9.10 12 43 2,45 (RHS 4,45) 7,03 9,15 LU ill "SPACE RAIDERS' MIATHUSS" 1 2,50 2,50 (RHS 4,50) 7,00 9,05 UJ 1,00 3,00 (RHS 5 00 7,00 9,00 Ifli uj i "AE" Ol Rd 14 5335 "SLUE THUNDER" 12,40 2,50 (RHS 3,00) 7,10 9 25 IU Winntf Acadamy Awardi Including Snl Fkluro, Adar and Dlrtclor OANOHI" 4,15 6,00 IfJD 1, 153, 15IRHS5, Wlnnac 2 Acadamy Awardi Including Bail Supporting Actor 'OfFKIR AND A 04HTLIMAN" (RHS 4,35) 7-10 9,30 El 1:10 3: 10 (RHS 5:10) 7 10 9t 10 JiMIJJJIJ MoncKtitc Id oi Acodomy Award Winnor 11370 221333 Bail Supporting. Aclrou "TOOTSIE" 1200 2,23 (RHS 1 5 9 40 'BLUE THUNDER" 12, 1S2 30IRHS4, 1X1 "FLASH DANCE" 130 3,30 RHS 5,25) 7,25 9,30 LLI 'SPACE RAIDERS" 1 ,00 3,00 RHS 5,00) 7,00 9,00 LTD "SPACE HUNTER IN THE FORBIDDEN ZONE" 1 ,00 3,00 (RHS 5,00) 7,00 9,00 IjjJ SOMITHINO WICKED THIS WAY COMES" 1:15 3,15 (RHS 7 IS 9,13 IfJU "SPACE RAIDERS" "FLASH DANCE" 1,00 3,00 RHS 5,00) 7,00 1:10 3,15 (RHS 5,20) 7,25 9,30 LLI "POLTEROEIST" llmd al 900 Grau 849-1700 "REATHUSS" I UJ OATIS Of FISH" 1 30 3 JO (S 3 30) 7 30 9,30 LLi.