Honolulu Star-Bulletin from Honolulu, Hawaii on September 21, 1969 · 110
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Honolulu Star-Bulletin from Honolulu, Hawaii · 110

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Location:
Honolulu, Hawaii
Issue Date:
Sunday, September 21, 1969
Page:
110
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bar mitzvah with a beat By LEONARD FEATHER l.os Angeles Time Service FULLKRTON. Calif Recently Fred Katz, a California State College anthropology teacher who is also well known as a classicial and jazz cellist and pianist, announced Uie imminence of history's hip-pest bur mitzvah. It was to be a sort of two ring ceremony: Katz. 50. and his son Hyman, 13, were both to be confirmed, and would supplement the traditional prayers with a jointly composed original work. 'Rabbi Allen Secher has been with us all the way." said Katz Sr., a stocky, Van Dyked man who looked more rabbinical than the rabbi. "We have been dreaming about this and planning it for three years. My son and I will both be playing Hyman blows flute." T1IK UNLIKELY was the predictable on this hot Saturday morning: The services, for instance, were held at the Congregational United Church of Christ in Northridge. Calif., where a cross on the altar had been replaced by a tablet of Hebrew prayers and a torah. The services began traditionally, with Katz Sr. and Cantor Nathan Lam trading Hebrew prayers and minor-mode chants. Then the younger Katz hinted at the shape of what would follow as he transferred the mood to his unaccompanied flute. SOON THE father joined in with his cello, and as their free-flow exchange of ideas developed it was impossible to determine where Hebraic melodies from the seventh century ended and modern improvisation began. Katz Sr. moved next to the piano, where he crunched out imposing chords and clusters while a quartet, ranged along the side of the temporary temple clambered up the pyramid of sound. The combo's name was Tim Weisberg and the Jazz Trinity. Weisberg's soaring amplified flute and Lynn Blessing's darting vibraphone soon generated an upbeat and reverent ambiance. There was a pervasive sense of participation in a near-mystical happening. "COME LET us worship the Lord." said the rabbi, "and let us exalt his name together." Whereupon flutist Paul Horn. who. in 1956 was a Katz's colleague in the Chico Hamilton chamber-jazz quintet, evoked a mood that could have been Near East or Middle East, born millennia ago in Bethlehem or Bombay. As the service-concert neared its end. Rabbi Secher said: "You have turned on some people who haven't been interested in God in years. That's what religion is all about, and this is how we can use it to bring us closer. It can turn you on, and without drugs." KATZ turned to his son. "This has been the perfect way to share our joy. I have learned from you. We have understood each other through the bond of music. The only generation gap, my son, is between those of us who are truly alive and those who are dead." As father and son embraced, the congregation, moved beyond the point of restraint, became an audience and burst into applause. i-AS VEGAS American home or CASINO de PARIS DIRECT FROM PARIS VIVE Les GIRLS SULTAN'S TABLE TOP Q' THE STRIP 18 Hoi Championship J, Calf Count far Reservations Phone our Honolulu Offic 923-8115 417 Nahua St. ;Page M HOTEL t COUHTBY CLI13 1000 DELUXE ROOMS aw :1 ,Tifi Miles Davis is a true innovator in jazz. When he does something, it causes jazz musicians all over the world to stop and listen. The things that he does, can change and have changed, on more than one occasion, the course of jazz history. Back at the end of the '40s, Davis pioneered in the modern harmonies and classical tonalities of the so-called "cool" jazz school with his series of recordings for Capitol, still available and still fresh-sounding after almost 20 years. IN THE mid-'50s, when jazz had gotten lost in the techniques and conventions of cool. Davis brought it back home again with a dramatic appearance at the Newport Jazz Festival and an equally dramatic recording of one blues number, "Walkin'." All over the world, jazz musicians turned to follow Miles' lead as they had a few years before with the cool sound. Then Davis, joining with composer Gil Evans, produced a series of albums (chief among liner notes . . . Veteran jazz pianist Claude Hopkins is now playing with trumpeter Wild Bill Davis. Buster Williams, who has played bass with Miles Davis and Sarah Vaughan, is now with Sonny Rollins' new group. Trombonist J. J. Jonson is operating a TV and radio agency in New York. R.G.J. LAS VEGAS Peggy Lee opened as the star in the big showroom at the Landmark Hotel over the weekend. She backed out of her three-year contract with the International Hotel contract because she decided against playing lounges. Stardust fixture Don Cornell finally cracks Broadway as one of the stars in the legitimate production of "Wild Oats," opening at the end of the year. Don plays an elderly singer who gets the young girl at the end of the show. Lainie Kazan, who did a sensational business at the Sahara last month. SUNDAY ,5TAR BUJJLE.TIN mipholeasoss rhythm section f l ill 7 Davis: A true innovator in jazz. them being the now classic "Sketches of Spain") which showed the way for orchestral jazz. SINCE THEN, Davis has led his small group, the most consistently stimulating hard-jazz combo in the world and the incubator of the talents of a host of jazzmen, including John Coltrane and Tony Williams and Cannonball Adderley, BALPHPEAHLsaS y0gaS will be back Sept. 30 for a two-weeker. A television network is anxious to do a 90-minute special on the Thunder-bird's "Flower Drum Song." starring Jack Soo. Elaine Dunn and Yau Shan Tung. Word has it that Howard Hughes will found three new colleges one here, one in Los Angeles and one in the Midwest before the end of the year. They'll cater to brilliant students who need financial help. Big night: Frank Sinatra opened at Caesars Palace Friday night. Bill Cosby opened the same night at the International. Alan King is playing the Sands, and Pat Paul & ADVERTISER,; ,HoapluiH, September 21, 1969 who graduated from that unit to carve out their own careers. Now Miles has produced another milestone. His new Columbia album, "In a Silent Way" and another one which Columbia will be releasing this fall, indicates an entirely new and equally important direction for jazz to explore. With one recording Miles has again shown that the possibilities in jazz are really unlimited. IF,. AS I suspect, the music audience is ready at this point in time for instrumental music, this album will become an instant classic, and its successor will even more dramatically emphasize that he is the leading figure in jazz In his generation. Jazz' initial rejection of the new sounds possible from electronic instruments was a natural sen is at the Flamingo. Statistics department: Nancy Sinatra has been drawing about 785 people per show during her engagement at the International. Lena Home and Harry Belafonte at Caesars Palace have been playing to a 900-per-show average, while Buddy Hackett has been scoring a robust 650. Former "Lido de Paris" chorus boy Tony Scot-ti will regretfully tell you that the road to Hollywood stardom is littered with broken glass and broken dreams. He was spotted by a talent scout, rushed to Hollywood by 20th Century-Fox, and soon given a featured role . in "Valley of the Dolls." The columns rejection of the unknown and hence the threatening. Davis, who was the first jazz musician I know of to seriously listen to such new artists as Jimi Hendrix and Sly Stone, has taken some of the elements of that genre, blended them with non-linear tonalities and emerged with a new musical sound. IT IS REALLY a magnificent achievement. In its first weeks of release, the new album immediately achieved a broad acceptance which shows every sign of continuing to increase. There are many important musicians in jazz and many more gifted improvisers and virtuoso players than the relatively meager returns from that art might lead one to expect. But there are very few musicians in all of jazz history who have had the kind of impact that Miles Davis has had. To have three times in one career changed the sound of music is comparable only to the creative genius of artists such as Joyce and Picasso. album of the week THE FLOCK (Columbia CS 9911). This is another of the new groups working in an area involving both jazz and rock. This particular one features a remarkable violinist named Jerry Goodman . who is worth the price of the LP all by him elf . A provocative package of music. It.J.G. were full of news about him, described as "the new Warren Beatty." But that was the only big picture Scotti got. He's looking for a job, and Stardust boss Bill Scott says he'd be glad to have him back in the "Lido de Paris" show. The Fremont's Kay Starr didn't know it, but the other night she was celebrating a most unusual anniversary. It was early in September, 1934, when teenager Kathryn Starks was hired by Lee "Pappy" O'Daniel to sing at one of his rodeos. A year later, while singing on Dallas radio, young Kathryn changed her name and became a household word as the "Wheel of Fortune" lady. TV; ALOHA.

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