Asbury Park Press from Asbury Park, New Jersey • Page 9

AS A PUBLIC SERVICE RECORD PREVIEWS- ASBURY PARK EVENING PRESS Jen. 14, 1967 9 'House Party9 Hunts Lost Heirs Eydie Gorme, Softly TONIGHT koh ohm jo-Movitt i to Besides dispensing food frowned on the setup and I luNoart omi-eni m-movki too ZERDAVOSTtL By DON LASS' 1 Guedel dropped the project. Months later, Guedel was i out raking leaves one after- 1 PHILSILVERS "THE LOVED ONES" IN COLOR. 'Franhic amp Johnny' j) noon when a solution came to mind what if "House Party" pays the investigator a regular salary so that the heirs get the entire estate? With this obstacle removed TV's missing heirs came into being. "All ideas are just associations," explained Guedel.

"I really borrowed this one from an old 'People Are stunt where we sent people out to find long-shot gold mines. In this case, missing heirs is a gold mine above ground." tidings and money, the missing heir segment also performs a service in urging people to make wills. Why is it citizens do not perform this simple act? "People simply put off finalizing anything," answers Linkletter partner John Guedel. "And you can't overlook the superstitition that making a will brings on death." GUEDEL THOUGHT up the missing heirs idea some time ago, but the concept was vetoed by the network because the heir hunters, who shared in the proceeds, appeared with the recipient on the show. Even though the practice of sharing estates by the Investigator is accepted and is legitimate, the network 343-0042 Fret Parkins FREE SMOKING SECTION I NOW SHOWING MM ZEROAJ0STEL PHILSILVERS 1859 SINCE scene A FUNNY TH1NQ 3 7v Happened on the fi ySb I 4 MUlllkUa DANCE CLUB FOR TEENAGERS FIRST and KiNGSLEY ASBURY PARX Open Every Friday and Saturday Night and School Holiday Evet.

Hour: 1:45 P.M. ADMISSION: $1.00 Giant Kiddie Show SAT. It JAN. 14 1 IS AT 1:00 P.M. "SNOW WHITE AND ROSE RED" AND "BIG BAD WOLF" By CHARLES WITBECK HOLLYWOOD People are more interested in money than in anything else, contends TV's biggest businessman, Art Linkletter, a driver who keeps hunting for money ideas to entertain afternoon TV viewers.

Right now, Linkletter has a neat financial project going on "House Party," a missing heirs segment based on the simple fact that seven out of eight people die without leav. ing wills, thus creating possible unclaimed estates. It is estimated over two billion dollars lies in State coffers waiting to be claimed by rightful heirs, a plump pot of gold to be tapped by heir hunters who usually get a lucrative share of the estate for their detective work, and by Linkletter who merely broadcasts clues to rightful heirs and attracts a money hungry audience. WITH ACCESS to a mass-audience, "House Party" holds a huge advantage over the hunters, and, oddly enough no one has i a complaint against Art for horning in. Of course, Linkletter is performing a public service by sending out clues on missing heirs who do not split a share of the proceeds with any investigator, Art has his own man, Larry Craig, who works on salary, checking out unclaimed estates in courthouses throughout the country, and he digs up clues of nicknames, addresses and occupations to be broadcast once or twice a week.

Last November, Art gave clues to the unclaimed Hanson estate, and within five minutes, Mrs. Joline Hanson Gearin, the wife of a San Pedro, merchant sea captain, called the show as a prospective heir. Earlier this month, Mrs. Gearin appeared on "House Party" as the rightful heir to a 1175,000 estate, the largest ever uncovered on the show. Mrs.

Gearin's tidy inheritance comes from her father, Chester Hanson, who died in March, 1965. His second wife, Gertrude Hanson, died last August, leaving no will. Information on the estate came to Linkletter from a friend, Stanley wn ffiivmYfiiitiifniiiniiiiim Imm Ji cms VISIT YOUR NEAREST SUPER MARKET Delicatessen Department Open Sundays and Most Evenings. Check Your Local Store for Shopping Hours. Walter Re ad 8 THEATRES JANUARY CLEARANCE NOW AT BOTH STORES Featuring Nationally Famous Brands of Furniture at Lew, Low Discount Prices.

PENN FURNITURE 1316 CORLIES AVE. (It. 33), NEPTUNI LAURELTON CIRCLE (Rf. 88), BRICK TOWN PR 3-3160 892-5010 ART LINKLETTER Hiller, of Hiller Helicopter Company where Hanson had once worked as an engineering liaison man. "HOUSE PARTY'S" missing heir segment has been running ten months, and in that time 23 estates have been uncovered, totalling $702,000.

'By May of '67, the total should pass the million mark. So far only one missing heir expressed reluctance to come on the show and step into the spotlight. "So many people are happy to get money; they don't care where it comes from," noted Linkletter. "This is just like a lottery to them." NOW COMMUNity roiviiiiuivity EATflNTDWrM II TflMS RIUFR TOMS RIVER B.il.hH-t un. I.I PI i.

i SomthiAf fir Everyone! fa AUWfMlUVE! Mtnr Bafort Shown IiFi ZEFOAVOSIfcL FUNPtY -w PHILSILVERS nvuniie THING HAPPENED ON THE WW RdseRed JACK GILFORD BUSIER KEATON COLOR by OtLun UNITtO ARTISTS TO THE FORUM (Vccisiib ciutui tuMMcn. EST. 1929 Restaurant of Distinction THE FINEST IN FOOD Gr MUSIC Organ Twin Pianos Facilities for Banquet Accommodation! far Up to 200 CM 1HG EXCLUSIVE AREA iync ASBURY PARK 4th 111 lewel Wallets 2 4 TattlTfrati I0TH1 "YOU ARE GOING TO ENJOY 'ALFIE'VERY MUCH." Wanomoua, N. J. Routt 35, Asbury Park nr paramount wctums presenti A.I.T.'t iPR 6-9760(ki Sat.

Sun. at 2:00 PLAZA A.I.T.'I FREEHOLD Kit. It HI Sun. 1:00 DANCING SOFTLY, AS I LEAVE YOU Eydie Gorme (Columbia CS-9394, CL-2584) Miss Gorme is highly regarded In the popular music world as a singer of various moods. Recently she has done a lot of work with the Trio Los Panchos that, in retrospect, eems inconsequential in light of this collection.

She has also scanned the horizons of pop music in the past from tiring novelties to more interesting vehicles from Broadway, with various degrees of success. But after examining this album and a recent similar entry titled "Don't Go to Strangers" it is increasingly apparent that Eydie Gorme is a romanticist. Her forte is the romantic ballad, the torch song, or whatever you choose to call it. Eydie Gorme wasn't always a top-notch vocalist. In earlier days, in fact, she was as bad as Tony Bennett in his first years.

But, like Bennett, Miss Gorme has learned what sensitivity, warmth, and perception amount to, and she is now able to execute such fine tunes as "Don't Worry 'Bout Me," "What Is a Woman" (from "I Do, I "You've Changed," "Glad to be Unhappy," ar.d the title tune with these qualities. Her voice, too, has become a fine instrument, capable of great range. She hasn't learned to 6hape lyrics as well as a Bennett or a Sinatra, and maybe she never will. But Eydie Gorme is a mighty fine vocalist, especially whm 6he sings the torch songs contained within the grooves of this LP. ORIGINAL CAST: It may or may not have anything to do with the dearth of good show records on the market (a situation stemming no doubt from the current dearth of good musicals), but MGM Records has been pursuing for some months a policy of reissuing "oldies, but goodies" of the legitimate stage.

Whatever the reason, the two albums before us "The Fantasticks" (E-5872 OC) and Ben Bagley's "George Gershwin Revisited" (E-4375 OC) are valuable additions to any recorded collection of the American musical theater. Of the two, "The Fantasticks" is probably the more familiar, thanks to its spectacular longevity. The album was recorded shortly after it opened in 1960 and features Jerry Orbach as El Gallo (the narrator), Kenneth Nelson as the boy and Rita Gardner as the girl. Since then, those roles have been played by more actors than most people see in a lifetime of theater-going and still the show continues to do SRO business at the Sullivan Street Playhouse in the Village. Ben Bagley's liner notes for "George Gershwin Revisited" are as obnoxious as the program notes he composes for his various revues, but the album's delightful contents makes up for the nausea induced by the notes.

The record featuring Barbara Cook, Bobby Short, Elaine -Stritch and (yes!) Anthony Perkins was cut in 1954, comprising one of the first musical anthologies to concentrate on a composer's lesser-known works. Consequently, we are treated to such rarely repeated Gershwin ditties as "There's More to the Kiss Than the XXX" (1919). "Nashville Nightingale" (1923), "Back Bay Polka" (1946) and "Rose of Madrid" (1924). As you msy have noticed, there are no selections from the 1930s or early 40s; perhaps everything Gershwin wrote then became famous. BARRY ROBINSON THE BLUE BECHET Sidney Bechet (RCA Victor LPV-535) This is the second collection in Victor's definitive Vintage series to document the engaging, often brilliant improvisation of the late Sidney Bechet.

Again the 1940-41 period is highlighted with Bechet accompanied by various sidemen, many of them among the best jazz players of the time. Only three tracks "I've Found a New Baby," "Lay Your Racket," and "Shag" come from en earlier period, 1932, with pianist Hank Duncan a disciple of the late James P. Johnson, and trumpeter Tommy Ladnier complementing Bechet's soprano saxophone ably. Of the various 1940-41 tracks, the most outstanding (they are all Kvell chosen) are "Blues in Thirds," a marvelous Earl Hines composition with the composer on piano, Bechet on clarinet, and Baby Dodds on drums; "Old Man Blues," a septet session featuring trombonist Sandy Williams, a great improviser of the day, the distinctive muted trumpet of Sidney DeParis, and the subtlely forceful drums of Sidney Catlett; "Blues in the Air" with Bechet's most rewarding soprano solo of the album; "Strange Fruit, a haunting piece played by Bechet on soprano, Willie (The Lion) Smith on piano, and the sensitive Everett Barksdale on guitar; and "Ain't Misbehavin'," a previously unissued take that includes a fascinating exchange between pianist Hines and cornetist Rex Stewart. The remarkable aspect of the entire collection is the timelessness of the solos.

Bechet's playing still sounds fresh today, which is one test of greatness, and the men he chose to accompany him, especially Hines, Willie The Lion, trombonist Vic Dickenson "The trumpeters Stewart and Charlie Shavers, and drummers Dodds and Catlett were musicians whose work also endures. TENOR TITAN Sonny Rollins (VSP 32) Rollins, a giant among tenor saxophonists, is heard here at a time when he first reached national prominence, 1957-58. His sound, as today, is deep and piercing, sometimes harsh, most often beautifully me-' Iodic. His style, an overt extension of the bop lines from the late '40s and early '50s, is a truly personal thing marked by an ability to create ideas that show much harmonic imagination, the injection of musical sarcasm, and a thorough knowledge of solo construction. The tracks used tin this collection are strongly representative of the still developing Rollins of 1957-58.

On four of the five he is heard with members of the Modern Jazz Quartet pianist John Lewis, drummer Connie Kay, and bassist Percy Heath at the famed Music Inn in Lenox, Mass. "I'll Follow My Secret Heart" and "You Are Too Beautiful" are ballads; "Doxy," a Benny Carter tune, and "Limehouse Blues" are swing numbers. "Sumphin," on the other hand, is a studio recording pairing Rollins with trumpeter Dizzy Gillespie and a classy rhythm section. A'l have been released on long-playing albums before (Metrojazz 1011 and Verve 8260), but if you don't own the originals this is a worthwhile addition to any jazz i. A.I.T.'i BRICK PLAZA St.

A Sun. EVERY SATURDAY EVENING? CHILDREN only SOe JOHNNY JOHNSON TRIO AIT I rnimir 0 "TDWiy 1 ACADEMY AWARD M1DDLET0WN WINNER mMqm I Simon'e Signoret "Diabolique" "SLEEPING CAR MURDER'7 7 1 1 1 1 1 ii i NOW! DANCING in the EMPRESS LOUNGE parLtom RED BANK Greek Chorus In 'Antigone' Keeps Moving By MARY CAMPBELL NEW YORK (A The Young People's Repertory Theater did a modern staging of "antigone" last night and the players probably got more out of it than the audience. They got the experience of acting and enunciating and getting to know a Greek tragedy. For the audience, the play was understandable, in the Fitts-Robert Fitzgerald translation, and the principal players bespoke themselves well. But the Greek chorus, a dozen self-conscious teen-agers in jeans, sweatshirts, and sandals, with untidy hair, was in almost constant motion.

They moved and flung themselves about on a small stage edged with large boxes for sitting and climbing, at the off-Broadway Sheridan Square Playhouse. Listening to them became wearing, much like watching two hours of a high school elocution class and modern dance class, combined. Sima Gelbart as Antigone, Gregory Reese as Creon, end Robert Fielding as Haimon performed nicely. Terse Hayden, one of the organizers of the nonprofit group, was director. I I IV fi PLAZA FlWhYTHING juM FlWhY THING' EYDIE GORME library, especially considering the low price of Verve's VSP line.

NEW MANN AT NEWPORT Herbie Mann (Atlantic 1471) Though Mann is a much overrated flute player, his work from within the seven-man Latin-jazz group heard here is exuberant, intelligently conceived, and finely attuned to the unison voic-ings of two trombones and a piano-less rhythm section. Four of the five tracks were taped at last year's Newport Jazz Festival; the other, Miles Davis' "All Blues," was made shortly before, apparently at a night club, with guitarist Atilla Zoller added and trombonist Jimmy Knepper replacing Jack Hitchcock. All are first-rate performances, a definite cut above the more commercialized offerings Mann has been pouring out lately. Mann's flute is featured extensively, as expected, but it is young flugel-horn player Jimmy Owens, trombonist Joe Orange, and Zoller who add the most original comments to the honest drive of Mann's ensemble and a wonderfully buoyant rhythm section built on Reggie Workman's prodding bass lines. Owens, who is heavily influenced by Miles Davis, is especially impressive on "All Blues," which also has Mann blowing tenor saxophone, and Jimmy Heath's "Porject Mann's best statements come when he, is working with only Workman's bass accompanying him, which happens auite often during these performances.

The duo generates prolonged excitement on "Scratch for example. The only standard in the set is George Gershwin's "Summertime," a bright version again highlighted by Workman's resonant bass. The rest are jazz-rooted numbers with just a touch of the Latin rhythms that are Mann's hallmark. GO POWER Illinois Jacqnet (Cadet 773) There are good doses of both the old and new Jacquet in this collection, taped last March at Lennie's-on-the Turnpike outside Boston, Mass. The old Jacquet was a wild and wooly tenor saxophonist who could blow the roof off any gin mill in town by resorting mostly to freak effects to create frenzy.

The new Jacquet, demonstrated on a number of recent Cadet LPs, is a more subdued player, showing to advantage a fine rich tone and a style that alludes to the late Hershel Evans and, to a 6mall degree, Lester Young. Since Jacquet and his two sidemen. drummer Alan Dawson and organist Milt Buckner, are entertaining a large night club audience on this occasion, they often employ artificial devices in hopes they can send the customers into wild ecstasy. Judging from the hearty applause, the foot-stomping, and the shouting, they've succeeded. But the enthusiasm felt by the audience at Lennie's on that night in March isn't transmitted entirely by this album, especially after you've played it more than once.

Fortunately, there is enough of the musically rewarding "new" Jacquet here to make the collection interesting. "I Want a Little Girl," for example, displays the great warmth he is able to cast on the romantic stuff and "Pamela's Blues" gives him a chance to show that he can play the blues with drive and conviction. "Illinois Jacquet Flies Again" and "Watermelon Man," on the other hand, display the honking, squealing Jacquet of old, and it's too much to bear the second time around. The rest "Jan," "On a Clear Day," and the perennial "Robbins' Nest" are good Jacquet, but they are far from distinguished. SOUNDS OF SILENCE and PARSLEY, SAGE, ROSEMARY, AND THYME Si-mon and Garfunkel (Columbia CL-2469, CS-9269 and CL-2563, CS-9363) Simon and Garfunkel, two young men with considerable musical talents, are the epitome of what is called "folk-rock," an adulteration of American folk music and rock 'n roll.

They are not rock artists by any means and purists will never accept them into the folk flock, but they survive because they have perfected a blending of two compatible forms of American music. These two albums are their first and their most recent; one in between suffered from a complete lack of depth. A comparison shows that the vocal duo has grown artistically while retaining much of the original charm and the rough-hewed edge that made their lyrics and vocal harmonies so interesting. Ironically, the hit tunes that have come out of these two works are not the most satisfying selections. Outstanding are "Blessed," "Somewhere They Can't Find Me," and "Richard Cory" from the first album and "The Dangling Conversation," "A Simple Desultory Philippic," "A Poem on the Underground Wall, and "Seven O'clock News-Silent Night" on the other.

All are witty, intelligent, and real. Because of the medium Simon and Garfunkel have chosen (they could go far, no doubt, in the pure folk realm), there is a tendency toward orchestration that can invade the simplicity of the fine guitar work and Paul Simon's excellent lyrics. But this is their scene, and they dominate it just as the Beatles dominate another form of rock 'n' roll music. P.M. to 2 A.M.

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