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Portland Observer
Thursday. February 16, 1*7«
Hughes Block on White
THE CHECKMATES LTD
Entertainment Guide
The Flooney Theatre Company's pro
durtioa tit Langston Hughes. "Seaman
and Poet" ends its run Thursday. Feb
ruary lfttb. at Portland State University.
The presentation of some of Hughes'
many works reflects the mask of geniality
with which Hughes offerred his works
and beneath which an objective reader or
listener must pry with some difficulty in
order to discover that all is not gaiety.
The Flooney production reveals the
multiplicity of Hughes' lines - the humor,
the anger, the sometimes i dispassionate'
acceptance, with a subtle clarity that is
not easily avoided. Thus a spectator with
only a smaltenng of familiarity of Hughes
and his works could wonder at the
production's loyalty to the characterua
lions and vernacular of Hughes' Jesse B.
Simple type.
Butch Haynes readings of Hughes'
poetry is simple and rythmic.
His
predictable emphasis on words which
rhyme and end that line on the page
reinforces Hughes playfulness but also
plants a suspicion that Haynes could
deliver the lines with an anger
typical of LeRoi Jones reading
Similarly Henry Melson's Jesse B.
Simple describes the fear of death by
water or falling w ith the expectable silent
shudder and a flash of the eyeballs
whites.
Simple's foil. Anaius Boyd,
spoken by Claude Melson, remains mute
while the audience laughs But Hughes
Simple is not Hollywood's 15*43 Simple,
and w hether it’s the Flaoney production
which blocks this easy escape into noatal
gia or the rarity of a presentation of the
works of a Black poet with the su tu re of
Hughes is a question not about to be
But the impression remains that the
Flooney group, like Hughes, p u u the
dollars under the pennies.
Gerald White's piano is beyond the
scope of the resources available to the
Observer’s listener. He did. however,
compare it to a trip be d taken once but
can't remember where.
Ed Bracken
presents an appreciated description of
Hughes life and works Bracken and
White's piano set are excellent tone for
the production
THE CHECKMATES LTD. - SPECTBl’M IN B L IT
The Checkmates are m o« definitely proa. They 've come a long way since they got
together in a hallway in high school in F a rt Wayne. Indiana. Bobby. Sonny, and Sweet
Lome broke into an impromptu song, and Bobby said the phophetic wards: “Let's start
a group’’ They played record hops and dances until graduation.
After high school they served together in the Army Special Services unit where
they received honors for their high voiuge performances Back in civilian life, they
perfected their style by touring dubs around the country.
In 1963 Johnny Rivers brought Nancy Wilson to the Pussy Cat a-Go-Go in Las Vegas
to see the Checkmates and she immediately signed them to an exclusive management
contract. Through her efforts, the group signed a recording contract with Capitol
Records, made appearances on network television, played major hotels in Las Vegas
and concert dates around the country.
In 1969 Phil Spector came out of retirement to produce their f ir « gold record.
“Black Pearl," on A & M Records, Riding high on all the U.S. music charts and number
one in Australia for two months, the group thought they bad it made. Instead, the
apposite happened and the Checkmates received their biggest setback. A fter all the
expenses had been paid far “Black Pearl" and the ensuing album, there was no money
left for the group. Stunned and disiliusioned. they realized that they were controlled
too much by outside interests and their dream of success was out of reach.
In 1970. after twelve years together, the Checkmates split up. but after three years
of pursuing individual interests. Bobby. Sonny, and Sweet Louie decided that the
chemistry of the three Checkmates together was then- strongest selling point, so they
regrouped Bobby took charge and initiated a plan whereby the Checkmates would
have complete control of themselves. Bobby created Even Steven Productions, a
personal management firm that manages the Checkmates.
The Checkmates signed writh Fantasy Records earlier in 1977. and their f ir « album.
“W e Got The Moves’ (F -95411. was released in December “W e feel like we've finally
come home, and that with Fantasy we have a chance to expand our lounge act' image.
Not that we don't like being called a lounge act - nothing wrong with that! - but it's
just that we feel we have a universal appeal. When people dig us, it's because they like
what we give them when they attend our appearances. W ith this new album, we feel
we've captured that feeling on record."
The Checkmates have ar impeccable reputation throughout the industry for their
work on behalf of different charities. They have performed on many Joey Bishop and
Jerry Lewis Telethons, have worked extensively writh the Las Vegas branch of the
B'nai B'rith. and received a commendation from Nevada Governor Michael Caiahan for
tbeir work at the prison in Carson City. The Checkmates, together writh their
percuss * * » « and rand manager, have had a basketball team for years, and play in
celebrity games for the benefit of educational institutions all over the country The
team has played in New Orleans. Las Vegas. L.A .. Salt Lake City, Fort Wayne.
Honolulu. Phoenix. Miami. Denver. Milwaukee. Philadelphia. Portland. Seattle,
Dallas, and Vancouver, to name a few cities.
The Checkmates have set attendance records in Las Vegas at the Sands.
International. Flamingo Hotel. Caesar's Palace, and now, at the Aladdin. For many
rears in a row they've been named “Lounge Act of the Year" in the annual Las Vegas
Entertainment Awards competition. (In fact, the only years they haven't woo have
been years when they didn't perform!'
The Checkmates have also appeared on an infinite variety of T V programs. Early in
1978. they've scheduled appearances on the Gong Snow. Dinah Shore. M erv Griffin,
and Johnny Carson. They have that kind of appeal'
The Checkmates are fine gentlemen as well as artists. Individually, the Checkmates
are leader Bobby Stevens. imaginative in tbe use of comedy, and an accomplished
musician. vocaiiK. and crowd pleaser whose melodic tones are filled with sincerity,
warmth, and spirit; organ!« Sonny Charles, one of those unique individuals blessed
with the ability to vocally
any type of sound from spiritual, rhythm and light
jazz to rock, blues or ballads , and Sweet Louie is responsible for that hypnotizing and
compelling earthinesa that is the base of the unbelievable Checkmate sound.
The Cheekmate« have the versatility, imagmativenes. talent, and charisma required
by top-notch performers. “W e Got The Moves’ proves it.
THE LAST SESSION -
Hall during a
He died the same year
Sam Cooke was T H E R&B male vocalist of the late fifties and early sixties. Songs
like “Chain Gang,“ “You Send Me." "Cupid." “A Change is Gonna Come," and many,
many more proved him to be the forerunner of virtually all Black male superstars
Extrem ely handsome and articulate. Cooke waa oo the verge of busting wide open
into other entertainment capacities, such as television and motion pictures. But. like
Jesse Belvm. Otis Redding, and countless others before and after him, Sam Cooke
never saw his peak develop as his life came to an end prematurely.
But today, nearly fifteen years after his death. Sam Cooke is « ill an mflueritial force
in contemporary music. His records are « ill often heard on many radio station* across
the country His songs continue to be recorded by both pop and R&B acts And the
musicians which were part of his Audio sessions and stage bands, have gone to make
names for themselves.
Lou Rawls began his career as a background vocali« on many of Cooke's smash
singles, m o« notably. “Bring It oo Home to M e " Since then Rawls has become a
major soloist with "Dead End Street." "Love is a Hurtin' Thing," and "Natural Man."
Johnnie Taylor, who. like Rawls, started recording as a background singer writh
Cooke, has become one of Stax Records' m o« consistent recording personalities with
“(I Wonna) Testify," “Who's Making Love." “Jody," and “Love Bones."
Bobby Womack, however, is probably the b e« example of the Sam Cooke influence
It was Cooke who convinced Womack to record Bobby's f ir « hit, "It's All Over Now."
since recorded by the Rolling Stones, among others.
W ith the experience he gained from Cooke. Womack became one of the standout
studio guitarists in the land before achieving stardom with “California Dreamin',"
“More Than I can Stand," “That's tbe Way I Feel About Cha," and "Harry Hippie."
Arranger Rene Hall, who was part of Sam Cooke's last recording session in 1964. has
fond memories of the legendary singer, both as a professional and as a person
"Sam waa a perfectionist,' Hall recalled. “He wanted everything to be right. There
was never a so-so take with Sam He would do a song over and over again until he felt
good writh it. During breaks for coffee and cigarettes, he'd go over writh everyone as
well as himself ideas on how to make the sound better. But we didn't spend a great
amount of time in the studio like people might think, because he surrounded himself
writh the h e« musicians - always. All you have to do is pick up a Sam Cooke record
and listen to it. I t will sound better than jiw t about any other record made at the same
time.
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IT’S CHEAPER AFTER 5.
If you can w ait u n til 5 P M
m ake th a t call back east,
you’ll cash m on a 359 discount
That's i f you dial direct without
operator assistance
This 359 discount holds u n
©
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)
til 11 P M during weekdays A t
11, the night owl talkers get an
even better b reak— 8 W off to
be exact
Pacific Northwest Bed
"But Sam waa also a beautiful person." Hall added. "He really enjoyed people. We
had a very close relationship, personally and professional* v In fact he wrote a song.
Sugar Dumpling, for my wife. Sugar. We took his passing as a great loss not only for
Black music in general, but for American history, too. The power this man possessed
probably will never he fully known a> he died much too soon.”
Without digging into the overused bag of cliches to find words to describe Sam
Cooke, it caa be pointed out that if he were a legend in hi* own time, which he waa.
then that, in itself, is his legacy. Though many outstanding artist* have emerged
before him. and the future holds the fate of those who follow, one might be able to
make a safe statement in saying there will never be another Sam Cooke - there is jtu t
no way.
Sorority plans
Heritage Branch
Delta Sigma Theta. Inc.. Beta Psi
Chapter is giving their Annual Black
Heritage Brunch - Sunday. February
19th at King Neighborhood Facility. 4815
N.E. 7th Avenue from 1:00 a.m. to 2:00
p.m.
There will be a performance by Star
Productions also there will be Scholar
ship Awards presented.
Donation: Adult* $3.90: Children under
12 $2 Co-chairpersons: Lessie Houston
and Lillian Cunningham; Chapter Presi
dent. Marian Gilmore.
Public TV builds orchestra
A KOAP Studio Orchestra of 35 mem
her* is being formed by the Oregon
Educational and Public Broadcasting Ser
vice A C E T A T itle V I Grant of $339.123
ha* been awarded for funding this group
for a period of ten months. All members
m u « reside in the City of Portland, and
must qualify under the CETA assistance
program
Applications and auditions
must be made before February 21 « at
the K O AP studio building at 2828 S.W.
Front Avenue.
All hiring m u « be
completed by February 24th.
Patterned after a similar public televi
sion station orchestra in Wisconsin, the
group will rehearse daily and perform at
the K O AP facilities It will present five
and one half hours of music programming
weekly. Tbe music will be available for
broadcast on the radio and television
stations of OEPBS and on tbe Golden
Hours Service to nursing homes and
homes for the physically handicapped.
The purpose of the grant is to provide
jobs to unemployed musicians.
The
ten month project is intended for must
cians who have been out of work for at
least fifteen out of the la « twenty weeks.
Positions include orchestra «rin g a. wood
winds, brass instruments, percussion,
piano, organ and harp, arranger librarian
and other positions.
John Brockway, production roordina
tor and director of musical television
programs at K O A P T V . Channel 10 in
Portland, is coordinator of the grant.
Applications may be obtained at KOAP
TV. Contact John Brockway. 2828 S.W.
Front Avenue. Portland. 517201, phone
229 4892.
SYMPHONIC MUSICIANS
WANTED
A K O A P Studio Orchestra of 35 members is being formed by
Oregon Educational and Public Broadcasting Service under a
lOroonth C E T A T itle V I Grant.
• All members m u « reside in the city of Portland and m u «
qualify under the C ETA assistance program.
• Applications and audition* m u « be completed before
February 21, 1978.
POSITIONS INCLUDE:
AsptP
O RCH ESTR A 8T R IN G S
BRASS IN S T R U M E N T S
W O O D W IN D S
PERCUSSIO N
P IA N O . O RG AN & H A R P
A R R A N G E R L IB R A R IA N
ANO O TH ERS
For applications and audition* contact JO HN BR O C KW AY,
coordinator K O A P T V , 2828 S.W. Front Ave.. Portland
97201. Phone: 2294892
OREGON E D U C A T IO N A L A N D PUB LIC
B R O A DCA STING S E R VIC E