The Pittsburgh Press from Pittsburgh, Pennsylvania • Page 31

Miss Manners D2 Ed Blank D3 Movie reviews D6 The Pittsburgh Press Section Friday, June 26, 1987 Carmen, sporting a wild mane of gray hair and classic good looks, is back before the cameras. She joins a growing list of older models that includes Dee Penna, far left, who turns 48 next month. to Mature models Glamour, style have no age limit By Barbara Cloud I I ..) i I i i 4 I it XV Jo alone posed for beauty ads. She had raised three children and was a marathon race walker. But she proved it was possible for a mature woman to succeed in an industry dominated by willowy teens and women in their 20s.

Now there is Dee Penna, yet another beauty who will be 48 in July. Mrs. Penna, of Flossmoor, 111., believes there are too many people who think youth has a corner on the glamour market. As the winner of a contest sponsored by Dove, she's the latest to prove that there is modeling'life not to mention pulchritude after 40. And very soon, 50.

Her face is among those now in the prestigious Ford Models book. Mrs. Penna doesn't have gray hair, at least not much, as the other women mentioned here, but she admits she touches up her blond hair. A graduate of Northwestern University, where she majored in political science, she taught language arts in high school and later was a substitute teacher. More recently she has been in sales for two photographic studios and a marketing firm in Chicago.

During a recent visit to Pittsburgh, she was asked how it all came about. "My mom had had a stroke and I found myself in doctors' offices so much of the time, I was reading all those magazines they keep in the waiting room. I saw the Dove ad in a magazine and just decided to enter. "I didn't even tell my husband. Not because I wanted to keep it from him.

It's just that I did it and then forgot about it. It seemed to be fate. I was at such a low point, worried about my mother. When they called and told me that out of 6.000 entries I was a regional winner, I couldn't have been more surprised." She was at the home of Jerry and Eileen Ford, who Please see Models, D2 The Pittsburgh Press THE MOVE toward modeling careers for women over 30 probably started or got its adrenalin from Kaylan Pickford. Miss Pickford, a widow and mother, began her career at age 50.

Her success sparked the return to modeling at 50-plus of Carmen, who had been popular in the '40s and '50s. Carmen primarily had been a photographic model, appearing on the pages of Vogue, Harper's Bazaar and Vanity Fair for many years. She had begun her modeling career in 1943 at age 13. When younger models began to take her place, she was 40 and still quite beautiful. But in those days, once a model hit 30, the jobs came less frequently.

Designer Michaele Vollbracht re-introduced Carmen in a fashion showing in New York, and once again she has become visible at collection openings as well as in print glamour ads. Not like the old days, but she still turns heads with that chiseled bone structure. No, the photographs in which she appears aren't making her look young, pretending to be what she isn't. The use of such women it has all the earmarks-of a trend is to appeal to the real world, where women over 35 do exist and have money to spend. With her wild mane of gray hair, Carmen is breathtakingly beautiful, as is Tish Hooker, born and raised in Nashville, who was "discovered" in a search by Germaine Monteil three years ago.

The cosmetic firm was introducing a skin care program and seeking an image over 40 when it found Ms. Hooker. She was 46. She had never modeled, let Melissa FarlowThe Pittsburgh Press Marsalis gives Heinz Hall crowd the blues and they love it By Bob Karlovits JAZZ FESTIVAL technically stunning versions of "Autumn Leaves" and "Moon River." His "Moon River" started with a bluesy introduction and then went into an extended exploration of the melody that ranged from classical sounding counterpoint sections to soulful licks that drew cheers from the crowd. But his sound frequently has a tinniness and that is a hefty problem on slow songs.

John Coltrane's "Naima," a song that is beautiful in the hands of most people, just didn't make it when done by Jordan. Even his own "All the Children" seemed to call for another instrumentalist to play it. But Jordan is fast and melodically creative. He is able to string together thematic ideas almost endlessly and to produce contrapuntal lines with ease that probably would impress J.S. Bach.

For the fans at Heinz Hall, that seemed to be enough. impressive in his drum work on "Caravan" and on "Negroes." Watts is inventive at his time-keeping and adds a lot of color through his cymbal work. On "Caravan," his semi-military opening and deep rolls gave the piece a driving, exotic nature. He was not the only Pittsburgher on the stage, though. In a classy move, Marsalis brought on Pittsburgher Dwayne Dolphin, who was a member of the band in 1982, for the Parker tune.

Marsalis has dominated the jazz Gram-mys over the past several years, and he and his band don't look like they're tiring of the routine. The concert also featured Stanley Jordan, the solo guitarist who has won raves for his "finger-tap" style of playing in which he hammers and plucks out melodies with both hands on the neck of his instrument. He won raves last night, too, drawing two standing ovations for a set that included Williams and the piano work of Marcus Roberts. And although Marsalis's stage manner is still not the warmest in the business, he was able to win over the Mellon Jazz Festival audience and earn probably the best response his group has ever received here. While the blues was clearly the highlight of the set, the quintet put together a solid outing that included originals and classics like "Caravan" and Charlie Parker's "Au Privav." This is a band that cuts a serious image on stage and is particularly serious about giving its members enough freedom to explore ideas.

Marsalis displayed many facets of his remarkable talents. On "L.C. on the Cut," his tone was so dark and rich he could well have been playing a flugelhorn. Vet, on a song he would call only "Negroes," he mustered up a crisp brassiness. On an improvised up-tempo blues that The Pittsburgh Press Miles Davis has used the strategy so successfully over the years it seems almost foolproof.

The strategy: Open a concert with a fairly brisk piece to get everyone's attention and then move into a soulful blues. The result: Audience capitulation. At Heinz Hall last night, trumpeter Wyn-ton Marsalis used that gambit to near-perfection. After opening with an up-tempo f'J's Groove," he and the quintet moved Into a gritty "L.C. on the Cut" and got the crowd of about 2,400 lined up behind it.

During Marsalis's solo, for instance, fans were shouting out after individual horn phrases the way revivalists call out after the words of a preacher. The response continued through the beefy solo of tenor man Todd closed the set, the trumpeter showed off his articulation with a series of quickly tongued passages. But this was not strictly a Wynton Marsalis show. Pianist Roberts is not as dynamic as Kenny Kirkland, the former keyboard man now with brother Branford, but offered up consistently solid solos. His work in "L.C.

on the Cut" was not technically stunning, but consisted of neatly explored ideas. On "J's Groove," he kept the level of intensity high with a rhythmically charged outing. Bassist Robert Hurst was strong, too, offering good solos on "J's Groove" and "Negroes," and cranking out fresh support lines throughout the night. Pittsburgher Jeff Watts was particularly Potter wants his artwork to lead a functional life Downtown gets all-kosher spot By Jerry Vondas The Pittsburgh Press By Patricia Lowry The Pittsburgh Press "OU LOOK for the qualities in a pot that you look for in a friend directness, honesty, clarity." Regent Square. In town recently for the opening as well as for a lecture and workshop at the Pittsburgh Center for the Arts, MacKenzie said he hasn't "had a graduate student in recent years who was any good at making pots.

They're all interested in making 'Art' and in making their reputations. "If you ask me why I don't like many pots being made today, it's because they're arrogant and egocentric. In recent months, there's been a heated debate between potters and sculptors in the pages of Ceramics Monthly, sparked by an article by sculptor Wayne Higby in which he asserted that functionality limits freedom of expression. MacKenzie argued the opposite view, and assailed the National Endowment for the Arts for awarding most of its fellowships in clay to sculptors rather than functional potters. A modest, confident, easy-going man, MacKenzie studied ceramics on the GI Bill at the Art Institute of Chicago after World War II, but it wasn't until he read British potter Bernard Leach's "A Potter's Book" that his approach to clay began to change.

While his formal schooling was mostly "cut and dried technical information," he learned from Leach that pottery could be a vehicle for individual expression. Leach had gone to Japan in 1909 to teach etching to the Japanese, but became a potter under the influence of the legendary Shoji Hamada, later recognized as a Living National Treasure, and the philosopher-critic Soetsu Yanagi, a champion of folk art of all cultures Please see Potter. D2 THE DAIRY Planet, a 100-percent dairy-style kosher restaurant, is scheduled to open for business Tuesday in the Chamber of Commerce Building, Seventh Avenue and Smithfield Street. Manager Eli Rothman says the restaurant, which is patterned after the owner's kosher restaurant in Manhattan, is certified by the Kosher International Organization. "We will serve dairy products, fish, baked goods and kosher wines and liqueurs, only," Rothman says.

"We will not serve any meat or poultry." Rothman says owner Nat Feldman, a New Yorker, realizes it's a risky venture. "But Mr. Feldman feels there are enough people working Downtown who favor kosher products and a vegetarian kitchen and will patronize the store, much as they've been doing in his Manhattan location." The restaurant will seat 160 patrons, with space to add 120 seats in a balcony area. Rothman says the price of complete lunches and dinners will range from $4.50 to $5.75. "Of course, you can come in and order a la carte and spend less.

Fish will be priced according to our purchase cost that day." In keeping with the kosher theme, the restaurant will close Friday afternoon after 3 and remain closed all day Saturday. Hours during the week will be 7 a.m. to 9 p.m. Warren MacKenzie lives in Stillwater, 20 miles east of St. Paul.

He makes straightforward, functional pots: cups to cradle in your hand and drink from, bowls to eat from, platters to serve from, pitchers to pour. At a time when many artists working in clay have turned to sculpture for expression, MacKenzie finds his through utility, as he has for almost 40 years. Unlike some potters whose work on the wheel becomes as routine as pouring a mold, MacKenzie can throw 100 pots a day and no two will look exactly alike. At the University of Minnesota, where he taught for more than 30 years, MacKenzie influenced a generation of potters whose work is sometimes known collectively as the Minnesota School. Wayne Branum, Randy Johnston, Mark Pharis and Jeff Oestreich studied with MacKenzie in the late '60s or early 70s and all later established their own independent potteries.

Their work shows the MacKenzie influence simple, expressive, functional forms in earth-toned glazes but each has evoived his own style, reputation and following. MacKenzie has reunited that quartet plus 13 other Minnesota and Wisconsin artists, including himself, in an exhibition of clay and fiber works at The Clay Place, Shadyside, and Concept Art Gallery, Warren MacKenzie also believes in keeping his creations affordable..