SECTION D


July 28 - Aug. 3, 2010


THE MICHIGAN CHRONICLE SHOW BUSINESS


Reflections ‘Cool’


By Steve Holsey It is interesting how certain slang terms are


popular in the moment, but fairly quickly fall out of favor and subsequently become identi- fied with another time. For example, none of us would think of describing something as “out of sight,” or if leaving an event, the words “split the scene” would not come to mind.


And then there are words that start out as


slang but evolve into a permanent parts of the vernacular.


“Cool” is a perfect example. It’s been around


for about 60 years and will continue to be. I heard a very young lady playfully describe a man as being “too cool for me.”


The term goes all the way back to the 1930s


and is generally attributed to famed jazz saxo- phonist Lester Young. Soon it was commonly used in jazz circles and worked its way into general usage after World War II.


“Cool” — both the word and the concept — Morris Day


got a huge boost in the early 1980s by Morris Day when he and the other members of the Time recorded “Cool,” fea- tured on their self-titled debut album. And, of course, being “cool” became an essential part of Day’s stage persona and still is.


“Cool” stopped being a trendy word a long


time ago. Now it’s just a word. “UNREASONABLE” is the word Wesley


Snipes used in his appeal following his sen- tencing for not filing taxes for three years. The judge disagreed and said the sentence stood.


I also believe it was


too harsh. I think he should have gotten one year, fined and been required to pay the gov- ernment what it is owed.


This seems to be an


era of “group returns.” BLACKstreet is perform- ing again, only this time as “Teddy Riley and BLACKstreet.” Bell Biv DeVoe is back on the concert scene.


RFlack oberta


Wesley Snipes And now comes word that Dru Hill has re-


formed. But lead singer Sisqo acknowledges, “It’s a new day,” and there is the possibly that old fans may not be especially interested, and certainly the younger audience has its own favorites.


It is likely that these groups are re-forming


because nothing much was happening for indi- vidual members since the disbandments.


JO THOMPSON, the talented, ultra-classy


singer-pianist from Detroit who is known in many parts of the world and has performed at Carn- egie Hall, has a new CD titled “Ms. Jo Thompson, Forever Fabulous,” backed by the J.C. Heard Orchestra. It can be ordered at www. jazzjewels. TV.


Jo Thompson On Aug.


7, Thompson will perform at the Metropolitan Room in New York. The show, conceived by her manager and son, Greg Dunmore, is a tribute to Lena Horne titled “Thank You Lena!!!”


Nick Cannon does a great job as host of


“America’s Got Talent.” He’s perfect for the job: pol- ished, well-spoken, smooth, likable, easy for viewers to look at. And Wayne Brady does an ex- cellent job hosting “Let’s Make a Deal.”


CONCERT tours


are being canceled or cut back with in- creasing regularity. The problem is that ticket prices have become outrageous and a growing number of people are saying “no thanks.”


Nick Cannon


Of course, even if that were not the case, this year’s “American Idol” tour may still have


See Reflections Page D-2 Roberta Flack, singer-pianist extraordinaire,


emerged at a time when virtually everything depend- ed on talent and perseverance.


In those days there were no shortcuts to making


it, like “American Idol” or any other TV show of its type. There was no exposure to be had such as that available by way of YouTube. No electronic gimmick- ry to cover up vocal or instrumental shortcomings.


Most importantly, standards were higher. One indicator of the level of respect Roberta Flack


has is that even when she is laying relatively low, as she has in recent years, interest never wanes among the faithful. She is a dependable, class act.


And her greatest material, such as “Killing Me


Softly With His Song” and “The First Time Ever I Saw Your Face,” are timeless treasures, firmly em- bedded worldwide. Her place in history is assured.


NORTH CAROLINA-born Roberta Flack took a


far more than casual interest in music at a very early age. She knew music was her destiny, although the hows, wheres and whens had to be discovered.


Young Roberta proved to be so proficient at clas-


sical piano that she became the recipient of a full music scholarship from Howard University. When she enrolled in college she was not yet 16! Consid- ering her musical prowess, it is no surprise that she became the university choir’s assistant conductor.


After graduation from Howard (at age 19) Flack


taught school for several years in Washington, DC, public schools. Weekends and evenings she per- formed in area clubs, etc.


During a benefit concert, someone who would


prove to be of crucial importance to the career of Roberta Flack was in the audience — none other than jazz great Les McCann. He was, to say the least, impressed. So much so that he arranged an audition with Atlantic Records, the company he re- corded for.


THE RESULT was Flack’s debut 1972 album,


the critically acclaimed “First Take.” Sales were not exceptional, just satisfactory. However, when the beautiful “The First Time Ever I Saw Your Face” was chosen for inclusion in the hit movie “Play Misty For Me” by the star of film, Clint Eastwood, sales soared.


The album and the song both reached No. 1, and


“First Take” was certified Platinum by the Record Industry Association of America (RIAA) for selling in excess of one million copies.


Around this time Flack began recording duets


with another great artist, singer-pianist-composer Donny Hathaway who had, interestingly, been a classmate at Howard.


The first of these was the No. 1 hit “Where Is the


Love?” (1972), followed by “The Closer I Get to You” (No. 1, 1978), “You Are My Heaven” (Top 10, 1980) and “Back Together Again” (Top 10, 1980).


See Roberta Flack Page D-2


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