supremester
02-06-2015, 02:50 PM
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[[3 Feb 2015: Kings Theatre)
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Diana Ross: 3 February 2015 - Brooklyn, New York
By Christian John Wikane [[http://www.popmatters.com/pm/archive/contributor/103) 5 February 2015
PopMatters Contributing Editor
August 1977 marked the last time Kings Theatre ran its projector. Within two months, Diana Ross would relocate to New York from Los Angeles and begin filming The Wiz [[1978). Kings Theatre never screened Miss Ross’ turn as Dorothy in the Hollywood adaptation of Charlie Smalls’ hit Broadway musical. However, the historic venue has now made up for lost time. Diana Ross inaugurated the Kings’ grand reopening after a $95 million restoration rescued it from the wrecking ball. Singing “Ease on Down the Road”, Miss Ross led a sold-out audience of 3,250 Gothamites to a whole new Oz, one that stands majestically along Flatbush Avenue in Brooklyn.
Diana Ross was the perfect artist to unveil a refurbished jewel in New York’s glimmering crown of cultural landmarks. In a sense, Miss Ross and the city of New York belong to each other. This is the city where “The Boss” spun at Studio 54 and “Love Hangover” powered Paradise Garage and Harlem drag balls. It’s the city where Miss Ross recorded two career-defining albums, The Boss [[1979) and diana [[1980), with two of the city’s greatest production teams, Ashford & Simpson and the CHIC Organization, respectively. It’s also the city where Miss Ross promised “No wind no rain … can stop me babe” while actually conquering a deluge of wind and rain during her ‘83 concert in Central Park that helped fund the Diana Ross Playground off W. 81st Street.
Like her Central Park concert, or any Diana Ross concert for that matter, the singer’s entrance at the Kings was worthy of a Queen. A sheer scrim bathed in purple light hung floor-to-ceiling across the stage. Masterfully led by bassist and Music Director, Cecil Thomas Jr., Miss Ross’ twelve-piece band initially appeared in silhouette and stoked the crowd’s anticipation. A driving beat punctured an ambient mist of sound and accelerated to a crescendo before that voice pierced the purple light: I’m … coming … out! A follow spot illuminated a mane of flowing black tresses stationed in the audience. Wrapped in a diaphanous swirl of aquamarine, the singer sauntered up the right aisle, crossed the middle orchestra seats, and marched down the left aisle as the scrim dropped to the floor. Flanked by iPhones and camera flashes, she climbed the steps and arrived center stage just in time to sing the first verse of “I’m Coming Out”—“There’s a new me coming out, and I just have to live, and I want to give”. Based on their ardent response, the audience was only too willing to receive whatever Diana Ross had to give that night.
A sprightly cover of “More Today Than Yesterday” by the Spiral Starecase [[sic) signaled the 1960’s portion of the show while also referencing the singer’s last studio album I Love You [[2006). Though an entire set could be dedicated to the songs Diana Ross recorded with the Supremes, the singer served up half a dozen hits that evidenced why the trio collected twelve number ones between 1964 and 1969. Beginning with “My World Is Empty Without You”, Ross’ band faithfully rendered the Funk Brothers’ high-octane soul that fueled Motown’s legendary recordings.
Miss Ross imbued “Come See About Me” and “Baby Love” with the same beguiling sweetness that dominated the airwaves during autumn 1964. Her coy rapport with the audience continued on “Stop! In the Name of Love” as she embellished the youthful melodrama of the lyrics. “You Can’t Hurry Love” took the energy up a notch while the four-piece horn section swung and swayed in time to drummer Gerry Brown’s infectious backbeat. The song’s breakdown—“You gotta wait / You gotta give and take / Love don’t come easy”—triggered a roar of recognition from the audience. The enduring appeal of these particular songs is a testament to the fated union between the Supremes and songwriting team Brian Holland, Lamont Dozier, and Eddie Holland.
The show’s Supremes segment concluded with one of the trio’s later hits written outside the H-D-H unit, “Love Child”. Forty-seven years after it topped the charts, the song remains a gripping tale that touches on poverty and pregnancy. At the Kings, “Love Child” transcended its dramatic three-minute storyboard and showcased the band’s remarkable musicality. Percussionist Ron Powell maneuvered both tambourines and congas, extracting some of the tune’s latent Latin rhythms. After Miss Ross exited for a costume change, horn players John Isley [[baritone sax), Carl Fischer [[trumpet), Mark Miller [[trombone), and John Scarpulla [[tenor sax) walked center stage and put the exclamation point on a series of solos.
Proceeding ten years or so, the next segment of the show basked in that moment during the 1970’s when Diana Ross became one of the world’s greatest solo attractions and was rewarded with accolades like Billboard‘s “Entertainer of the Century” [[1976). As background vocalists Valerie Pinkston, Fred White, and Lamont Van Hook intoned the opening phrase to “The Boss”, Miss Ross entered from stage right, her voice coasting above the song’s anthemic melody. Her gait imparted the same kind of confidence that emanated from Douglas Kirkland’s cover photo of the singer on The Boss. In both her vocal approach and attitude, she owned the song, accentuating some diva flair with an outsized red fan. Powell worked overtime on the congas as the horn section replicated Robert Mounsey’s original arrangement.
Ten songs into the set, “Touch Me in the Morning” was the first ballad of the evening. It was worth the wait. George Mitchell rendered every last nuance of Michael Masser’s melody underneath the singer’s bewitching vocal. It’s interesting how the passage of time shades lyrics with new meanings. When Diana Ross sang “Let’s just be glad for the time together”, it registered not so much as a consolatory bromide from one lover to another but an acute awareness that time is indeed precious, no matter the relationship. The more subdued arrangement of the song spotlighted guitarist Michael Sechrest whose appealing solo contained elements of jazz that didn’t stray too far outside the song’s pop orientation.
“Upside Down” resumed the party. “Come on, let me see you move in your seats,” the singer commanded. The audience needed little encouragement and gamely danced along to the song’s angular rhythms. While Miss Ross addressed the audience several times throughout the show, the open-armed gesture that accompanied “I cherish the moments with you” seemed like a special Valentine’s Day nod to her fans. She then invited a gentleman up from the audience to display some freestyle moves as she and the audience cheered him on. “You better go for it now,” she cried. “Give me some of that!”
Diana Ross revisited her long line of number one dance hits with a medley of “Love Hangover” and “Take Me Higher”. Of course, the former needed no introduction while the title track to Take Me Higher [[1995) was a refreshing reminder that Diana Ross was still a force in the clubs two decades after “Love Hangover” first wielded its power. Illustrated by footage of the singer’s photo session with photographer Firooz Zahedi, “Take Me Higher” elevated the set beyond “greatest hits” fare and intimated how many hidden gems are waiting to be excavated for future concerts. As the singer raised her arms in victory, her background vocalists nailed the deceptively simple notes of the tune’s closing harmonies a cappella. A rollicking rendition of “Ease on Down the Road” bookended “The Boss” and once again burnished the memory of the singer’s ascent to solo superstardom through records, concerts, and movies during the 1970’s.
Tenor saxophonist John Scarpulla introduced a trio of songs that examined love from alternately sultry, sad, and lighthearted points of view. He wailed a round of Bacharach and David’s “The Look of Love” before the singer returned in a silver gown that refracted all colors of the rainbow. Having recorded the song on I Love You, Diana Ross is among the countless artists who’ve lent their voice to Bacharach’s timeless melody. At the Kings, she drank every bit of sensuality from the lyrics, teasing the audience with slowly undulating hip movements as Scarpulla’s sax moaned softly in the background.
See Part 2 Below:
[[3 Feb 2015: Kings Theatre)
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Diana Ross: 3 February 2015 - Brooklyn, New York
By Christian John Wikane [[http://www.popmatters.com/pm/archive/contributor/103) 5 February 2015
PopMatters Contributing Editor
August 1977 marked the last time Kings Theatre ran its projector. Within two months, Diana Ross would relocate to New York from Los Angeles and begin filming The Wiz [[1978). Kings Theatre never screened Miss Ross’ turn as Dorothy in the Hollywood adaptation of Charlie Smalls’ hit Broadway musical. However, the historic venue has now made up for lost time. Diana Ross inaugurated the Kings’ grand reopening after a $95 million restoration rescued it from the wrecking ball. Singing “Ease on Down the Road”, Miss Ross led a sold-out audience of 3,250 Gothamites to a whole new Oz, one that stands majestically along Flatbush Avenue in Brooklyn.
Diana Ross was the perfect artist to unveil a refurbished jewel in New York’s glimmering crown of cultural landmarks. In a sense, Miss Ross and the city of New York belong to each other. This is the city where “The Boss” spun at Studio 54 and “Love Hangover” powered Paradise Garage and Harlem drag balls. It’s the city where Miss Ross recorded two career-defining albums, The Boss [[1979) and diana [[1980), with two of the city’s greatest production teams, Ashford & Simpson and the CHIC Organization, respectively. It’s also the city where Miss Ross promised “No wind no rain … can stop me babe” while actually conquering a deluge of wind and rain during her ‘83 concert in Central Park that helped fund the Diana Ross Playground off W. 81st Street.
Like her Central Park concert, or any Diana Ross concert for that matter, the singer’s entrance at the Kings was worthy of a Queen. A sheer scrim bathed in purple light hung floor-to-ceiling across the stage. Masterfully led by bassist and Music Director, Cecil Thomas Jr., Miss Ross’ twelve-piece band initially appeared in silhouette and stoked the crowd’s anticipation. A driving beat punctured an ambient mist of sound and accelerated to a crescendo before that voice pierced the purple light: I’m … coming … out! A follow spot illuminated a mane of flowing black tresses stationed in the audience. Wrapped in a diaphanous swirl of aquamarine, the singer sauntered up the right aisle, crossed the middle orchestra seats, and marched down the left aisle as the scrim dropped to the floor. Flanked by iPhones and camera flashes, she climbed the steps and arrived center stage just in time to sing the first verse of “I’m Coming Out”—“There’s a new me coming out, and I just have to live, and I want to give”. Based on their ardent response, the audience was only too willing to receive whatever Diana Ross had to give that night.
A sprightly cover of “More Today Than Yesterday” by the Spiral Starecase [[sic) signaled the 1960’s portion of the show while also referencing the singer’s last studio album I Love You [[2006). Though an entire set could be dedicated to the songs Diana Ross recorded with the Supremes, the singer served up half a dozen hits that evidenced why the trio collected twelve number ones between 1964 and 1969. Beginning with “My World Is Empty Without You”, Ross’ band faithfully rendered the Funk Brothers’ high-octane soul that fueled Motown’s legendary recordings.
Miss Ross imbued “Come See About Me” and “Baby Love” with the same beguiling sweetness that dominated the airwaves during autumn 1964. Her coy rapport with the audience continued on “Stop! In the Name of Love” as she embellished the youthful melodrama of the lyrics. “You Can’t Hurry Love” took the energy up a notch while the four-piece horn section swung and swayed in time to drummer Gerry Brown’s infectious backbeat. The song’s breakdown—“You gotta wait / You gotta give and take / Love don’t come easy”—triggered a roar of recognition from the audience. The enduring appeal of these particular songs is a testament to the fated union between the Supremes and songwriting team Brian Holland, Lamont Dozier, and Eddie Holland.
The show’s Supremes segment concluded with one of the trio’s later hits written outside the H-D-H unit, “Love Child”. Forty-seven years after it topped the charts, the song remains a gripping tale that touches on poverty and pregnancy. At the Kings, “Love Child” transcended its dramatic three-minute storyboard and showcased the band’s remarkable musicality. Percussionist Ron Powell maneuvered both tambourines and congas, extracting some of the tune’s latent Latin rhythms. After Miss Ross exited for a costume change, horn players John Isley [[baritone sax), Carl Fischer [[trumpet), Mark Miller [[trombone), and John Scarpulla [[tenor sax) walked center stage and put the exclamation point on a series of solos.
Proceeding ten years or so, the next segment of the show basked in that moment during the 1970’s when Diana Ross became one of the world’s greatest solo attractions and was rewarded with accolades like Billboard‘s “Entertainer of the Century” [[1976). As background vocalists Valerie Pinkston, Fred White, and Lamont Van Hook intoned the opening phrase to “The Boss”, Miss Ross entered from stage right, her voice coasting above the song’s anthemic melody. Her gait imparted the same kind of confidence that emanated from Douglas Kirkland’s cover photo of the singer on The Boss. In both her vocal approach and attitude, she owned the song, accentuating some diva flair with an outsized red fan. Powell worked overtime on the congas as the horn section replicated Robert Mounsey’s original arrangement.
Ten songs into the set, “Touch Me in the Morning” was the first ballad of the evening. It was worth the wait. George Mitchell rendered every last nuance of Michael Masser’s melody underneath the singer’s bewitching vocal. It’s interesting how the passage of time shades lyrics with new meanings. When Diana Ross sang “Let’s just be glad for the time together”, it registered not so much as a consolatory bromide from one lover to another but an acute awareness that time is indeed precious, no matter the relationship. The more subdued arrangement of the song spotlighted guitarist Michael Sechrest whose appealing solo contained elements of jazz that didn’t stray too far outside the song’s pop orientation.
“Upside Down” resumed the party. “Come on, let me see you move in your seats,” the singer commanded. The audience needed little encouragement and gamely danced along to the song’s angular rhythms. While Miss Ross addressed the audience several times throughout the show, the open-armed gesture that accompanied “I cherish the moments with you” seemed like a special Valentine’s Day nod to her fans. She then invited a gentleman up from the audience to display some freestyle moves as she and the audience cheered him on. “You better go for it now,” she cried. “Give me some of that!”
Diana Ross revisited her long line of number one dance hits with a medley of “Love Hangover” and “Take Me Higher”. Of course, the former needed no introduction while the title track to Take Me Higher [[1995) was a refreshing reminder that Diana Ross was still a force in the clubs two decades after “Love Hangover” first wielded its power. Illustrated by footage of the singer’s photo session with photographer Firooz Zahedi, “Take Me Higher” elevated the set beyond “greatest hits” fare and intimated how many hidden gems are waiting to be excavated for future concerts. As the singer raised her arms in victory, her background vocalists nailed the deceptively simple notes of the tune’s closing harmonies a cappella. A rollicking rendition of “Ease on Down the Road” bookended “The Boss” and once again burnished the memory of the singer’s ascent to solo superstardom through records, concerts, and movies during the 1970’s.
Tenor saxophonist John Scarpulla introduced a trio of songs that examined love from alternately sultry, sad, and lighthearted points of view. He wailed a round of Bacharach and David’s “The Look of Love” before the singer returned in a silver gown that refracted all colors of the rainbow. Having recorded the song on I Love You, Diana Ross is among the countless artists who’ve lent their voice to Bacharach’s timeless melody. At the Kings, she drank every bit of sensuality from the lyrics, teasing the audience with slowly undulating hip movements as Scarpulla’s sax moaned softly in the background.
See Part 2 Below: