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About Portland observer. (Portland, Or.) 1970-current | View Entire Issue (July 6, 1988)
Page 4, Portland Observer, July 6, 1988 A ^-ENTERTAINM ENT D BROADW AY BOUND 0 “ In The Spotlight” Brenda Phillips - “Mamie” In Simply Heavenly' REPORT A s H ki ~ 4^S«j SSL ■■■ Taste Of History: New Orleans ments with a beautiful vocal-like warmth. As one New Orleans trumpeter expressed it, the idea is t the dawn of this century a to “ play pretty for all the people." new music was born in New The tune is not obscured by Orleans. It was a "good tim e” mu harmonic padding and com sic to make the people happy. Its plicated arrangements, for these appeal was so immediate that the musicians know that the secret of music soon swept over the whole true excellence in music, as in life country and then circled the itself, lies in simplicity. New Or globe. It was not some much a leans Style has never encouraged kind of music as a style of playing. the hectic rushing and frantic, Essentially it was simply a way of hysterical screaming that passes “ playing a melody with a beat.” for jazz in many places. Instead, New Orleans musicians learned moderate, relaxed tempos to to work together to produce the which people can dance or march loose, relaxed beat which is so ir even in a hot climate are chosen. resistible that one cannot help New Orleans music has always but dance, or at least sway and been functional. To this day the pat one’s foot to its swing. The business cards of most musi easy going, almost hypnotic cians read “ music for all occa rhythm at times seems to run ef sions” — not just dances, parties, fortlessly by itself. In this style of and parades, but for everything music, where the musicians from christenings and dedi strive to help each other rather cations to funerals. than grab the spotlight, it is natur A New Orleans “ band of music” al for in ir 'ovised ensemble can be of almost any size and choruses to be a feature. Working instrumentation. Traditionally the together harmoniously can gener groups most favored have con ate a feeling of power. The en sisted of five to seven pieces with sembles often build with cumula a more or less standard instru tive effect and surging momen mentation. Each instrument has tum to thrilling climaxes. its own special role in building New Orleans musicians seem the final musical structure. Usual by nature to be a friendly lot. It ly the trumpet (or cornet) is the takes only a minute to get to musical if not nominal leader. He know true New Orleans musi may call the tunes, except for re cians. The friendly warmth and quests; he stomps off the tempo enthusiasm with which they work to start the band; but mainly he together is part of their life. Their plays, or rather sings, the melody audiences cannot help having a (the "lead” ) in as beautiful and ex good time, because the band is pressive a manner as possible having such a grand time. and helps drive along the rhythm In New Orleans Style the of the band. The trombone, big melody is always clearly heard. brother of the trumpet, also can The melody is never disguised sing a melody or a counter- but is sung by the various instru- by Jazz Historian Bill Russell A by Garland Lee Thompson urrently featured in the Port land Repertory production, “ A ... My Name Is Alice,” actress/ singer, Brenda Phillips is “ on a roll.” This veteran player on Port land theatre stages is giving audi ences another good "turn of the screw,” as she puts “ the Phillips screwdriver” method in motion and high gear at the Rep's new (Post Office), or somewhere to space. She is singing well and is stay “ alive and well” at the end of wonderful with a good company the Union Pacific railroad line in of actresses; Suzanne Irving, Rae Portland, Or. "Go for it,” Ms. Bren Randall, Adair Chappell, Jayne da, and sing out, "Did You Ever Muirhead, under Musical Director, Hear The Blues,” one of the hot Teresa Metzger and Brenda Hub songs in, “ Simply Heavenly,” that bard, the Rep’s artistic director, made Claudia McNeill, "a star” in directing the show. Indeed, Ms. the original Broadway production. Phillips adds more than just Yes, she's “ Broadway Bound” at “ color” to the show. this “ Report.” The show is billed as an “ adult “ A n g ry H o u s e w iv e s ” C a s t musical,*’ dealing with women’s R e u n io n A t S to re fro n t T h e a tre issues in the '80 s, that came out Yes, the “ Angry Housewives,” of the Women Project of the are still “ angry” as they hookup American Place Theatre in New an original cast reunion with, York. It’s a “ Saturday Night Live," Nancy Benner, Wendy Wester- revue-type format, without the welle, Kathy Philpott, Sharon guys, with the girls really “ stick Knorr, Randy Knee, Greg Tam- ing it” to “ the dudes.” blyn, R. Dee and the gang. I took This past season, Brenda Phil twelve of our Upward Bound Pro lips’ fans have seen her “ fine gram students from Portland theatrewares” in "Little Shop of State University, to see the pro Horrors,*’ at the Portland Civic duction, which we first saw Sum Theatre (This oldest of Portland’s mer before last (1986). community Theatres might yet The show is Portland’s longest survive if they did more to keep running “ hit” and is still a "rio t” her around). of laughs and gags that had me, Now, Ms. Phillips is teaming up sitting in the first row, pulling again with actor/Blues singer, “ Cornflakes” out of my hair long Michael Holiday (the voice of “ the after the final bows and our kids Plant,” in “ Little Shop"). This meeting the cast. “ Housewives,” i “ dynamic duo” will now be fea which started at the Pioneer tured as "Mamie” and Water melon Joe,” in the Portland pre-, Square Theatre in Seattle, Wa. and the Organic Theatre, Chicago miere of Langston Hughes’ won (it opened and closed in New derful musical comedy, “ Simply York), is in its fourth year at the Heavenly,” opening Thursday, Storefront Theatre on S.W. Third August 18th, 1988, 7:30 P.M., at and Burnside (which reminds me the Lincoln Hall Theatre of Port a little of 42nd and Times Square land State University. in New York, with the street peo The famed harlem playwright- ple on the scene). Check out the poet's internationally acclaimed show, its great fun. hit opened on Broadway and in “ B lac k A n d B lu e ” London, 1957-58 and Hollywood D u e O n B ro a d w a y In 1958. This is its first presenta Speaking of Blues and Broad tion on the West Coast in thirty way, remember Ruth Brown, a vet years since it played Los Angeles eran of the Apollo Theater in the io 1958 (I made my professional 1950's? Well she and Linda Hop theatre debut in that production kins, who won a Tony Award for as “ the newsboy, John Jasper” ). her performance in “ Inner City,” So, “ the B P. Express” rolls on, and headed for Broadway in and to think, she, Ms. Brenda, is “ Black and Blue," the Black musi still doing all this “ showbiz” and cal revue by Claudio Segovia and theatre in “ P.O.” town, instead of Hector Orezzoli, who created, Just having to work at "the P.O." C "Tango Argentino,” that "blew folks away” last season in New York. Also joining these “ big blues diva” sisters, are choreographers, Cholly Atkins of Atkins and Honi Coles, Fayard Nicholas of the Nicholas Brothers, Bunny Briggs, Ralph Brown, Lon Chaney and Jimmy Slyde, who I first met years ago in Hollywood at the old Rainbow Studios, the day I audi tioned for the company that gave me, my movie debut in “ South Pa cific," at Twentieth Century-Fox in 1957. Whoray for Jimmy! “ Write On!” T h r e e P o s ts O p e n A t N e w R o s e T h e a tre New Rose Theatre is seeking applicants for three staff open ings; a full-time managing direc tor, with an application deadline of July 15th, a full-time develop- ment/marketing director, dead line, July 31st, and a three-quar ter-time costume shop manager, deadline, July 8th. Since New Rose Theatre has been moving more into Black and third world themes (“ A Raisin in the Sun," color-blind casting in re cent productions ("The Life of Galileo") and a planned 1989 pro duction of African Nobel Prize winning playwright, Wole Soyin ka's, play “ Death and the King's Horseman,” it would be approp riate to have some “ people of col or” in the key administrative slots also. So, please send a letter and resume to the theatre's search committee, 904 S.W. Main St., Portland, OR 97205. “ Write On” and give it your best show! Famous Faces 4 M L T h e o rig in a l S m o k e y R o b in s o n & T h e M ira c le s . PORTLAND OBSERVER “ The Eyes and Ears of the Community” 2 8 8 -0 0 3 3 Skin Deep Beauty and Barber Supply Commission Meeting Skin Deep Beauty A nd Barber Supplies • We Sell To The Public • We Carry Most O f The Products For Beauty Care A nd Pleasure • We Will Stock Your Order To Your Satisfaction! — Remember, Beauty Is Only Skin Deep!!! — 1761 N .E . 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The clarinet, most expressive of all the woodwind family, can sing voluptuously in the lower register or slash out dynamically in the upper range, but mostly the agile clarinet is used to “ variate” and embellish the melodic line. Although all the “ blowing in struments” of a New Orleans bas ed are responsible for their share of the bouncy, pulsating drive, several other instruments are specifically charged with supply ing the steady fundamental beat of the band. The drummer, of course, is the “ time keeper” as well as rhythmic powerhouse of the group. He can also control the dynamics of the band and inspire its spirit and performance. Histor ically the pianist of the New Orleans band has frequently been a girl. Capable of playing melo dies as well as chording along in a harmonic accompaniment, the pianist can also double as a vocalist. The banjoist can play melodies with striking sonorities, but is most useful in producing the regular rhythmic pulse and harmonic chordal foundation. The bass viol, in modern times mostly plucked and slapped rather than bowed, can help produce a terrific swing and bounce in a band. The traditional musical mater ial of New Orleans is exemplified by a typical program. There are a few old “ standards” — some of the cakewalk, march, or rag-based pieces such as Georgia Camp Meeting, That’s A Plenty, or Panama. But mostly there are just popular songs of all ages, past and present — the tunes the peo ple like and want to hear, which are transformed into the New Orleans idiom. There are a few hymns — Closer Walk, Just A Little While To Stay Here, etc. Then there is always a liberal assort ment of wonderful blues — from the fast stomp-like Dippermouth to the slow moaning Freight Train Blues with its marvelous off-pitch blue notes. This music is a sim ple, satisfying and direct form of communication. Often its heart- feld emotions are eloquently and passionately expressed. 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