THE MICHIGAN DAILY
i &E r terta inri ~Wednesday, September 15, 1976 Page Five
WELL I DECLARE
Ken Parsigian
IF YOU ARE expecting a bridge column that starts off by show-
ing you all four hands, then shows you the bidding, and then
describes in two or three paragraphs how the hand can be made
via a hexagon squeeze, then stop reading right now. This col.
umn will never take that form. Technical hands are, great, if
you always play with 3 other competent. players. But, if you are?
like most of us, then you are often playing with a combination
of good and bad players. In this column I will deal with these
mixed types of bridge games, and hopefully bring a lighter
touch to the often too serious world of bridge. As lo 'g as my
imagination holds out, I promise you some' interesting hands and
some hopefully humorous while definitely unorthodox ways of
RECORDS IN REVIEW:
Bas ie,
et al:
!Idt and sweet
and often dips into the freer sprightly pace during "Back-
aspects of improvisation. Woods Song."
FALL OPENINGS
SNursery
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* Elementary School
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An alternative program,
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DAILY CLASSIFIEDS
By LARRY FRISKE jazz standards like "Lester
' SATCH AND JOSH (Pablo! Leaps In" and "Exactly Likel
2310,722). You," but there are some new-
It's hard to imagine a more er sounds as well.
contrasting pair of pianists than My only reservation about the
Oscar Peterson and Count Ba- album is Basie's less interest-
sie, yet they blend well on ing foray into organ, on "'S&J
Satch and Josh. The Count's Blues." There's something about
performing talents, of course, the touch, or lack of it, that
have always been overshadow, doesn't jibe with the surround-
ed by his orchestra and his typi- ing cuts; but, all the same, it
cally sparse and teasing inter- offers contrast to what goes
pretations. He's always been a before.
I a f fai ]lia zxith hef
DeJOHNETTE, a Chicagoan,
has most recently concentrated
on fusion material with his own
music but has also recorded ex-
tensively in freer settings.
Although his guitar is electri-
fied, Abercrombie rarely relies
on its gimmickry aspect on this
album; tone communication is
direct and reciprocally inspira-
tional with Holland's and De-
Johnette's. Most often, Holland
provides the link between the
other two, for example with his
The action picks up on Side
Two, where Abercrombie pulses
through his most burning solos
in "Sorcery I" and especially
"Unshielded Desire." His angu-
lar lead style is most apparent
in the latter and his interplay
with DeJohnette the best the
disc has to offer. Here DeJohn-
ette, in addition to maintaining
the rhythmic underpinning,
sweeps through a wide range
of tonal colors, and accents
nicely an already thoroughly
pleasing production.
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BRING QUICK RESULTS
J
handling these hands. maoi Imes wiLisin-! -
gers and his style holds true; JOHN A B E R C R O M B I E:!
even without an orchestra to fall GATEWAY (ECM 1061).I
J HAD JUST finished a marvelous crab imperial crepe and, back on, as in this recording.i Abercrombie's name is listed
finding my glass empty, ordered another bottle of the vin- Peterson, Basie's collaborator first only for identification and
on he ew P,,is morelieacneineothslbmfrE
tage port we'd been drinking, when Bruce, my dinner compan- n the new LP, io like a convenience on this album, for
ion, began another of his \dissertations on my treatment of part- nervous coversationalist with his Gateway is a full-fledged team
ners notes. The embarrassment of si- effort involving Dave Holland
hsi Cnalj ent lence, or space, is to be avoid- and Jack DeJohnette as well as
You are such a tyrant!"he "aid. 'Constantly jockeying the ed at all costs. He is the man that prince of jazz.
bidding to give yourself the best chance of playing the hand. And of embellishment, par excel- Holland is English and has
the way you scream your list of do's and don'ts to partners. 'Don't lence, with a style consisting long been one of the top bas-
bid out of turn, do hold your cards up, don't bid no trumps of prolific melodic variations sists in the business. Holland
first . . . Why, most of the time they're so confused they don't and surprise twists that keep the wrote four of the six pieces in
even know what card to play!''; listener satisfied as no other the set, and takes the lion's
eve knw haparitalan'istne work has since Art Tp-i share of the soloing in "May!
"Exactly," I replied. "I like to have my partners flustered. jtuk.s Dane fTy a a bi can
If they are forced to guess (I often beg partners to close their FOR THIS SET Peterson be eayTypicaly a basist n
eyes and lead the 5th card from the right) they may well guess brings his long-time bassist Ray the soloists, but Holland is on
right. But if they are permitted to think they will certainly find Brown into the spotlight and a completely equal footing here.,
a masterful line of reasoning for making the wrong play. In fact, Basie counters that talent with His range of experience cov-
with some partners, it is better to keep them out of the auction his veteran guitarist Freddy ers the entire spectrum of jazz,
all together." Green. Drummer Louis Bellson
THAT STATEMENT naturally led to a hand, so I finished my- rounds out the quintet.
wine, grabbed a napkin, and scribbled thisa own; Common ground turns out to OVER 3/4 MILLION G..S
egrk n r e be the blues - and both Peter- W H o GOT LESS-THAN-
North son and Basie are masters of HONORABLE DISCHARGES
A A K x x x x that genre. The pianists com- IN THE VIETNAM ERA,
V Q 10 x x x plement each other well, as ex- TY
f x pected, and there's little trou- THETAST M A J O R I
ble in distinguishing their re- WITHOUT TRIAL, HAVE A
spective sounds. Many cuts are L I F E SENTENCE OF NO
West East VETS' B E N E F I T S tr NO
x x A x x DECENT J OB S WITHOUT
> ax floi fxoxrFULL AMNESTY
. x x x x 4 x x X x Have a fir for
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Q J 10
I was sitting South, I told Bruce, and our friend Phil (whom
we affectionately call Philthy) was my partner. Jim and Ann
Marie were Past and West respectively. Ann Marie opened with
a pass, and 1hilthy (correctly!) opened 1 spade. Jim passed, and
I bid 3 diamonds. Philthycalled 3 he"- -followed by my 4 dia-
monds, his 4 spades and then 4 no tri~-n' by me. Now I pausedI
to think, while Philthy carefully counted his aces to respond to {
blackwoqd. Due to some exceptional dummy play by Ann Ma-:
rie, and some gutsy bidding by Jim, we were pretty far behind.
Not so far that some sanity on Philty's part and some good
play on mine couldn't pull it out for us, but far enough that I
had to start considering other factors. The most important factor
was time. It was 8:30, and I had a dinner engagement across'
town at 9:30 (which I could lie and say was at 9:00 if I needed
to leave).
ONE GRAND SLAM would put us in the lead, and considering
the time problem this seemed like the best hand to go for all
13 tricks. The only problem was what suit to play it in. Spades
were unlikely, but both hearts and diamonds were possible. On
the other hand, clubs could well be right. At this point Philthy
finished his count and, nearly certain that he had 2 Aces, re-
sponded S hearts. Now it hit me that clubs had to be right.
Philthy had announced the Ace, and certainly had one or more,
likely two little ones in that suit, since he probably held a dia-f
mond void. But now that I had decided that clubs was the suit
to play it in, I had another problem. To be sure, I could bid 7
clubs immediately, but would Philthv leave it in? Certainly not.
A new suit at the 7 level! Impossible. Suddenly it hit me and,
befgre Jim could pass, I bid 7 clubs.
"That's a bid out of turn," Jim caid confidently.a
Now, being a stickler on the rules, Jim informed us that
my bid would be allowed after he (Jim) was allowed to bid. If
Jim passed, all would go the same, and I would be sunk. But
if he should bid, then my bid would count, but Philthy would
be barred from the auction. Knowing Jim as I do, I felt sure
that he would bid just to keep Philthy out of the auction, and$
(he hoped) mess us up. My faith in Jim was well founded, -
which he proved by doubling. I followed with my mandatory
7 club call, and although Philthy stewed, there was nothing he
could do. I was declarer at 7 clubs.I
I HAD an anxious moment as Ann Marie pondered her
lead (a club would have destroyed me) but in the end she
trusted her clever partner's lead directing double (at least sheI
thought it was lead directing), and led a heart. I was called
upon to ruff just one little diamond with dummy's Ace of trumps,
draw trumps, and claim. And still Philthy didn't realize what
had happened.
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INGMAR BERGMAN'S 1955
Smiles of a Summer Night
This is one of Bergman's few attempts at
comedy and it's his best so far. The summer
night has three smiles: for young lovers, for
clowns and fools, and for the sad and depressed.
In Swedish with subtitles.
THURS: BIRTH OF A NATION
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KEN
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$2.50 1
Ken Bloom has taken the Mariposa
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SUN.--$3.©Q
Mel Brooks'
from the people who Cave you "The Jazz Singer"
I*3 From Waeth Sws TA WErKCommun*4410ne cow9
8th HIT WEEK!
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I VITELLONI
Federico Fellni, 1953) AUD. A, 7 only
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LA STRADA
(Federico Fellini, 1954) AUD. A, 9 only
In LA STRADA, Zampano (Anthony Quinn) buys Gelsomina
(Giulietta Masina) for his slave-assistant. As they travel the
countryside performing, the simple-minded Gelsomania de-
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oblivious until too late. Masina's facial expressions will haunt
your dreams. Italian with subtitles.
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