Historical Newspapers of South Carolina

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Ecitentainr *" * Jazz Fej u/ith nro: By Amy Leary Staff Writer A handful of jazz appreciators gathered at the Russell House Ballroom Thursday night to hear two jazz bands, Jnnersectiops and Phenix. '/\i'ivtn?/?Af? ivm #\ * U ?? ? 1 ^ i ui'it ^vi iwi niaiiLus 11uii t\*/u lilt; L'lU.St* Ol USC's week-long jazz festival. Innersections, a three-piece band of keyboards, bass and guitar, are from the Philadelphia region. Their improvisational sound was a taste of low-key notes, stark and adventurous, yet simple. The band's set featured all original material. "Inside," a song branded with repetitive notes, made an unfamiliar beat seem familiar. As the concentrated beat continued. Stuart Siemond on niano snH denly veered off into a melodic overturn to escape into his own theme. Many of their other songs used this same trick. "Cousin Vegetable," a whimsical tune, reminded one of the music of Charlie Brown. The piece brought out the subtlety of Bruce Kaminsky's bass, as Sigmond and Lasner kept their instruments at low vuiuiue. "Stews Brew" started with Rich Lasner on twelve-string guitar. His solo started in a slow, melodic fashion, suddenly scoping the notes in quick expert style. Phenix. led by Koland Haynes. provided Pendergraz co-stars in < By Leroy Williams with his daru staff writ.i slow ballads. You can always count on Opening the Teddy Pendergrass to put on Ecstacy, an e a good show. band from Pre Teddy Pendergrass, the who successfu former lead singer for the with getting group Harold Melvin and the warmed up Blue Notes, along with artists' compc singer Stephanie Mills and a performed , a grouD called Ecstacv. en- ! hint's "Thi? V/ I ^ ' O" ' - tertained a capacity crowd Kurtis Blow. ? at the Carolina Coliseum the Gang's "T( Saturday night. played one < Fender grass, the called "Slam Kingstree, SC., native who turning the s later f ound lame and fortune Stephanie Milit in Philadelphia with the Blue Mills' claim Notes, is considered by show business many to be black music's years ago whe major sex symbol. It is and pranced he evident when the bearded 6- hearts of co loot-3-inch singer drives York playg women in his audience wild playing the pa Toddy Pendergrass urges the crowd c Saturday night show in the coliseum. (Photo by Ba -J ? 31. KHUSi at show up-beat and amplified music which was more at home than Innersections in the large Russell House Ballroom. Although there was no one certain person to watch in the Innersections trio, there certainly was in Phenix, and that was Roland Haynes. A pied-piper on flute and sax, Haynes captured the audience with the first few notes from his horn. His flexibility ranged from a stratospheric climb to high notes on his flute, to the sweetly seductive low notes of his sax. His band is composed of South Carolina locals. The musical talents that make up Phenix are Maurice Uthank on keyboards, Andy Watson on drums, Thomas Mosely on percussion and Coleman Sistrunk on bass. The performance was cohesive and exotic as they rambled through many up-beat jazz tunes. Phenix'set featured many solos. Watson* on drums, displayed a compelling solo. Varying in intensity, it still remained a freeflowing piece. There was a short bongo solo by Mosely that seemed amorphous and lacked direction. For those jazz enthusiasts who missed both bands . you can catch Phenix and Roland Haynes at the Quarter Moon, and hear Innersections on their new album, "Tap Dancer In A Minefield." fs. Mills concert le tunes and in'TheWiz." Mills sang various concert was selections from her twc ight-member albums, including "Sweel ividence, R.I., Sensation " and "Nevei illy got away Knew Love Like This tllC II UWU Livivit. doing other On the latter. Mills put or >sitions. They lively lyrical exchange mong other with two of her back-up Breaks," by singers, which the audiencc ind Kool and obviously appreciated. jo Hot." They Pendergrass, minus hh original tune usual jewelry and open shirt Dunk" before appeared conservatively tage over to decked in a blue double breasted business suit However, bv the end of hi* lUIII^ 111 ? came a few show, he was stripped dowr n she danced to Just a tank topped T-shirt t way into the He knew what the womer untless New wanted. oers while He opened up withamedlej rt of Dorothy ol songs from his original two albums, including "Tlu More I Get The More ] Want " He then went ink some selections from Im current LP, "TP." including I ...... 'IM//1 " II', II /HI' I I\W, (IIIII V till I Y> I Try?" The highlight of th( evening came whei Stephanie Mills reappearec on stage with Pendergrass t< perforin an excellent ren (lit ion of Peabo Bryson'i "Feel the Fire," which the two of them recorded 01 "TP." By the time "Tedd> 1)...... i . t.... '' .?I J i I,. J in ili uu IK'MUJ picivuii mi - , ) last note of'"Feel the Fire,' tin- coliseum was rocking Fendorgrass then won ^ - 1 into his tamed medley o ^ 9HH jH three songs soley designed t( i -""-j; ; - j excite the women. 1' ; , , 1 1 he beauty ot these thre< slow songs, "Come (Jo Wit! ; i ! The I )oor " and "Turn Of v \ h: | The Lights," was aecentet | by 1'endergrass* smootl ' , persuasive, soothing style Vi. ! i i making the medley sound al 18 il&M t he more ennvineini? MB t|Kl( jjK> approximately in during his 10,000 people left t\u coliseum quite satisfied witl rry Newman) t he concert Jazz trio tnnersections peri appearance. The band p/a\ .. Minefield * ."X OtUddlt I again a h Uy Lynn Massey Staff Writer One of the most successful Broadway plays, "Makin' Whoopee!" was presented at the Township Friday night. This musical comedy, loaded with zany lunacy, has gone down as one of the all time classics since its first . production in the early 1920s. The plot to this story concerns three couples who finally marry after a long series of shenanigans. This j modern cowboy and Indian production was directed by G. William Oakly and ' brilliantly choreographed by Dan Siretta. iNUlM* WtflllN IU ; marry hypochondriac Henry Williams, but he has run away with the sheriff's fiance. The sheriff's fiance, Sally, doesn't love him or Henry. but would rather marry Wanenis, a good looking Indian. Then there is a crazy rich girl. Harriet. I who manages to swoon Sheriff Bob into marrying I her. while Henry and Nurse Custer finally work things out at the all u\ also. > . J M - _ . ; 1 s I B i I I I \ ; : ._ I Harriet Underwood (htn \\ r\ i _ . isuriuvari/ runts an aui Whoopee!' (Photo by Bun ;SH i !HctR-L- : -'. form a song during their red many songs from their ( Hakin' IV lit after 5i There were several professional actors in the performance who are not unknown to television and the silver screen. Mamie Van Doren, who played the sex bomb nurse, co-starred with Clark Gable in the movie "Teacher's Pet" and also with Tony Curtis in the film "All American." The rambunctious rich daughter was nlaved bv three-time? Kmmv winner Imogene Coca, who gave an hilarious mock strip- tease in a heavy trench coat. The ring leader of the comedy, Henry Williams, was played by Ted Frit (. inn u, n mi I as (Ji:i IVI lllCU with many well-known stars, including .Joe Namath and Carol Lawrence. His most enjoyable scene took place when he sang the classic "Yes Sir, That's My Baby." The whole production was lull of slapstick humor and corny one-liners. However, the true comic who stole the show was the blubbering gr^ c I W TW |? **W'' i*- *%? viRr"*" *" f I ogene Coca) and her futhet o trip across the desert y Newman) (Sfbt iHi Thursday night ballroom album "Tap Dancer In A Photo by David Cauthen) hoopeeV ) vears drunk. Toad, played by Bryan Foster. Although this character never said a word, he got more laughs than any other performer with his spastic body movements and dumbfounded facial exrirouci aiic Cnclni* ic |/i vuoi vno , a vrovvri BO definitely someone to look for in the future. Every scene had a different setting and the costumes changed with every situation. The dance ensemble of 12 men and women complimented ^ ?\/?/\ ?* ? rv> ... 1 4 L, V c 1V II IK1IILU 11 LI 11J Ut" 1 Willi their peppy routines There were a lot of scenes which called for the old soft shoe and tap dancing, a common characteristic of old musicals in the :ios and '40s. it "Makin' Whoopee!'* was tirst introduced as "The Nervous Wreck." which was based on the short story written by E L Wrath. It was later called "Makin" Whoonee1" in !<)*>? wlicn show opened at New York's A in s t e r da m T h e a lee. However. tins present production is the first since one in the HMO s .M r Jerome Underwood (King in a scene from 'Makin'