Page 10 Portland Observer, October 1, 1981
HAPPENINGS
entertainment
entertainme nt .
"There are alternatives”
Grassroot News. N. » '. — T w irlin g , w hirlin g , moving and swaying to
Donald Byrd. Pharoah Sanders and Max Roach, the Alvin Ailey American
Dance Theater moved on Portland. For a dancer. Alvin Ailey is the tops.
One former resident o f the Northwest. Stanley Perryman, achieved this
dream. " I always wanted to dance with this dance group and New York was
a long way from Seattle. So I just worked my way up. 1 started in L .A . and
danced with Donald McKayle, the Dance Theatre o f Harlem and appeared
on Broadway. 1 received a lot o f my early training from Black Arts West in
Seattle."
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The Ailey Dance Theater
by Lanita Duke
Grassroot News Service
tlltld fí
“ I ’ve always liked to dance and when I joined A. A. my whole approach
to dance changed. It put me on a d iffe re n t level because o f the
professionalism.
When you watch the movements o f A . A . you see the fusion o f jazz and
ballet movement. * It s a spiritual thing that we bring across io our audien
ce. When we first join. Alvin knows we have a technique. Once inside the
group he tries to get our personal talents on the stage.”
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Natalie Cole Happy Love
AILEY DANCER STANLEY PERRYMAN
(Photo by Richard J. Brown)
Alvin Ailey was born in Texas and began his career with Lester Horton.
His own company started in 1958 w ith 7 members. Now it ’ s a complex
repertory company with a cast o f 29. Perryman states, “ W e are not all a
Black thing but we are in the spiritualness o f the whole third w o rld ."
Perryman believes that with the budget on the bottom for cultural outlets
that the community will fill the gap by sponsoring local dance troupes with
a community spirit (like our Hereo).
Donna W oods, a nine-year veteran o f A . A ., says. “ H o p e fu lly , the
government will continue to support the arts. But it seems that Reagan
doesn t want to go that way. Things will be cut and we won’t be able to put
it on T V and our tours might be lengthened.”
The cutting o f our arts just reflects how little this country cares about the
arts. But I guess when you could buy a tank, why would you want to see or
hear something about peace?
One o f the most sensitive and beloved song interpreters o f our day is the
lovely Natalie Cole, who has been a consistent public and critical favorite
since she stepped into the limelight with Inseparable, her debut recording, in
Inseparable garnered her a golden album award and a Grammy for
“ Best New Artist” that year, while its smash hit "This W ill Be" earned her
a second Grammy for “ Best Female R&B Vocal Performance."
Since then Natalie and success have been virtually inseparable; she has
reaped five more gold LP certifications— Natalie. Unpredictable. Thankful,
Natalie. . Live, and / Love You So— and two platinum a w a rd s - Unpre
dictable and T h a n k fu l. She has also been the recipient o f a host more
kudos, including a third Grammy in 1976 for "Best Female R&B Vocal Per
formance” once again.
Natalie has also made several significant television appearances, both as a
performer and charming interview subject, and she hosted her own variety
special for the CBS network.
Natal.e spent the early part o f 1981 film ing television commercials for
Posner Cosmetics and Ford M otor Company, yet somehow found time to
chair the American Cancer Society-sponsored Great American Smokeout
before entering the studio to record her new album. Happv Love (Septem
ber 1981).
Happy Love is an apropos title Tor\his magnificent LP. Natalie is in her
element, singing optimistic songs of love and togetherness with a flair all her
own and the result is a sweet soul blend o f pulsating rhythm and blues.
Natalie's warm, full-bodied vocals are complemented perfectly by a tight
band and light string ensemble under the direction o i producer/arranger
George Tobin.
Natalie’ s new association with Tobin, in fact, represents the first time in
nine albums that she has worked with a new producer. And Tobin fresh
from producing the smash hit “ Bein’ W ith Y o u " for Smokey Robinson,
was lit for the task. He showcases Natalie in warm tones and polished ar
rangements. emphasizing her rich vocal timbre.
W ith the changes in the production company came changes in the creative
team, and new songwriters were recruited to bring fresh material to the
Happy Love project. Lead guitarist M ike Piccirillo collaborated with Tobin
Productions director Gary Goetzman to come up with the LP's first his
single, You Were Right G ir l," and Bill Amesbury penned the explosive
follow-up smash “ Nothin' But A Fool.”
Natalie herself contributed three tunes, proving herself as more than just
a stellar perform er, but a songwriter who can write in several styles. She
penned “ Love A nd Kisses" and co-w rote “ The Joke Is On Y o u " a id
“ Across The N ation.”
The album also features updated versions o f two old chestnuts. Percy
Sledges’ No. 1 “ When A Man Loves A W om an” and the Guess W h o ’s pop
masterpiece. “ These Eyes.”
All o f the tunes have one thing in common, however. Natalie Cole’s verv
happy love.
Forrest Jenkins
ALVIN AILEY DANCER DONNA WOODS
Still, it’s the European relatives o f America who can’t do enough for our
artists. Donna explains. “ They are very warm people and they want the arts
to come over. You just have to say that in Europe they are very supportive
o f their arts.
Donna feels that although the future support o f the dance theatre may
come from large corporations and rich individuals, the direction o f the
company won’ t change. " T h e direction doesn’t always come from Alvin
but from the choreographer."
In watching their performance you could see the non-verbal thought pass
from dancer to dancer. The flow is smooth; the ballet buffs complained that
he music was too jazzy and the jazz buffs cried that it wasn’t up enough.
,ul ,o »" back with an open mind you could get right into their movement
ith the same ease and grace. Alvin Ailey is just A lvin Ailey. I f the dic-
mnary were to pick up on him they would say, "A lv in Ailey: Third World
movements with spirit.”
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Welcome Home Concert
**® ® V,H o u ,,o n 8 h lv ,rs Soprano), in concert, Sunday, October 18
1981, at 4 pm at Westminster Presbyterian Church, 1824 N.E. Hancock’
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