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By Kevin JoyThe Columbus Dispatch • Monday September 15, 2014 9:15 AM

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Request to buy this photoJenny RisherThe vocalist, a founding member of the Supremes

A pioneer of the Motown sound and image, Mary Wilson recalls the social divides that her music helped bridge in concerts decades ago — a time when stylish black female vocalists didn’t yet occupy the mainstream spotlight.

“Many of the audiences outside Detroit were segregated,” said Wilson, a founding member of the Supremes [[Baby Love, You Can’t Hurry Love).

“You would go to these shows in the South — blacks on one side, whites on the other.”

Then the women began to sing.

“Before you knew it, everybody was just joining in together,” the 70-year-old said. “For us, that was wonderful.”

Pipes and poise helped the Supremes attain global fame.

The group tallied 12 No. 1 hits, graced magazine covers, landed commercial endorsements and entertained the British royal family [[with Motown insisting that its artists conduct themselves in a manner befitting kings and queens).

Wilson — the singer who put together the schoolyard group, first known as the Primettes, with Detroit childhood friends Florence Ballard, Betty McGlown and Diana Ross — carried on as the only original member until the group disbanded in 1977.

The Supremes have since been inducted into the Rock and Roll Hall of Fame.

Wilson continued to give solo performances amid other pursuits — even filling a role, at the behest of Colin Powell, as a cultural ambassador for the U.S. State Department.

Next on her agenda: weekend performances with the Columbus Jazz Orchestra in a show dubbed “ Motown Medley” to launch its 2014-15 season.

Wilson spoke recently from her home near Las Vegas.

 

Q: How do you approach classic tunes you have sung thousands of times?

A: I think it’s different for every performer. Most of us don’t perceive ourselves as trying to put a fresh look on music; it’s really to bring out the beauty of what the songs are.

They are beautifully written; the lyrics are exquisite. Basically, it’s about singing them as simply as you can. It’s already excellent music; you don’t have to embellish upon it.

 

Q: What inspired a jazzy spin on Supremes hits for such a show?

A: About five years ago, I put together a jazz show at the Empire Plush Room in San Francisco. I wanted to explore doing something different. It went so well that now I’m booked all over the world with jazz shows.

I’ve been listening to it [[jazz) since I was a child. It falls right into what I do as Mary Wilson.

 

Q: What traits do Motown and jazz share?

A: I guess the only way to explain that is to say the roots of black music, R&B music, blues are all very similar. Motown is like an extension.

When Berry Gordy decided to form Motown, his one concept was that he wanted to take the roots of black music and make it so everyone could enjoy it openly — not just black music for black people.

 

Q: You had turned 16 when the Supremes earned a record deal. Did you realize the significance of your career coup and the Motown movement?

A: We started singing at the age of 13. We didn’t get into it to make money. It went from “just fun” to the real thing.

This was very early in the game; the music industry was not really as established as it has become now. We knew . . . [[Motown) was something special but also very different.

 

Q: Motown was called “The Sound of Young America.” Do you keep up with the Top 40 scene?

A: I was watching . . . something from the [[MTV) Video Music Awards. The music has evolved into something different — not the music I grew up with.

Like Berry said: “Music is really for the young.” Once you get a little older, you stick to what you grew up with. I think that happens to a lot of people.

 

Q: Where Did Our Love Go, the first No. 1 hit for the Supremes, turned 50 this year. How do you view the milestone?

A: It is just a wonderful experience knowing that your music has not only lasted this long but it is still revered — still very special — and to say, “My God, we knew what we were doing.” Or: “ We didn’t know, and it still worked.”

At first, we had another perception of what we, the Supremes, wanted to sing. . . . [[The song) didn’t fit our idea. We didn’t know how great it was. Sometimes, the writers and producers know what they’re talking about.

 

Q: As a teacher and an activist, what do you make of the revitalization efforts in Detroit?

A: I had a great childhood in Detroit. It was a great, great city with a great educational system, which we should have now. I’m on the phone with lots of people to perhaps put together a performing-arts center.

Lots of cities have come back. I’m hoping Detroit is next on the agenda.

kjoy@dispatch.com

@kevjoy