By Mel Cooke, Freelance Writer
Motown legend, Smokey Robinson on-stage with one of his back-up singers at the 'Air Jamaica Jazz and Blues Festival', last Friday night.
- Noel Thompson Photo
WESTERN BUREAU:
SMOKEY ROBINSON is so cool, he can hardly raise his voice. The Motown singing and songwriting legend, headlining the second day of the 'Air Jamaica Jazz and Blues Festival' last Friday night, had to try a couple times before he got the volume up as he congratulated the audience: "We've got some singers out there tonight. You sounded great. Let us sing another one!"
This was after the music lovers screaming at the front of the stage, rocking at the fringes of the main section of the crowd, using the Wyndham Rose Hall's Cinnamon Golf Course as a ballroom floor or sprawled out on the grass and soaking up the sounds, had become 'smokeylettes' to opening numbers Being With You and Second That Emotion.
Even when he did manage to crank up his speaking voice, Smokey Robinson still sounded cool.
On an evening when one of the headliner's hits, Tracks Of My Tears, had threatened to become an appropriate theme song as the rain drizzled, dried and drizzled again, opening performer Stew saw off the showers. What remained was a sky scrubbed clean, bonfires on the hillside, springy grass underfoot, oversized lit balloons substituting for an unco-operative moon and lots of happy people.
As well as, of course, the music.
Stew was also the youngest act on a line-up completed by Ernie Ranglin and Roy Ayers. The Los Angeles-based outfit was also the most loquacious, but by no means lukewarm.
With a trumpeter doubling as guitarist at times and the saxophonist forsaking his curved horn for a flute in some instances, as well as a lead singer playing well, lead guitar and a female bassist who rocked, Stew had a full sound and a full range of topics.
Showing outstanding writing, the band presented the 'love mix-up' She Explained It All, the sarcastic party-pooper Rehab, the homosexual-sympathetic Ken Doll, media epic Peter Jennings (on a bassline quite similar to that of the 'Sleng Teng') and the Los Angeles version of Rebel Music, LAPD.
For Stew, though, it was booze and not 'blunts' since he was coming back home from a party.
Humour and honesty played a huge role in Stew's show. As he introduced Ken Doll, he said: "It is in the key of 'F'. I realise it is not an appropriate song for an outdoor show, but I am the resident freak here."
Ernie Ranglin picked, plucked and phrased Jamaica's musical pride on his guitar in a shortened set that left the audience wanting more. Although he was the billed performer, the guitarist left ample room for the other musicians to showcase their talent, which saxophonist Antonio Hart and keyboard player Nash utilised fully.
On a night when there was no moon, his Moondance provided full musical illumination. At one point in another piece, Ernie Ranglin played a series of notes so high that some must have strayed into doggy range, but the audience roared for what they heard. In yet another breathtaking sequence, Dr. Ranglin did a guitarist's imitation of Superman hearing a rat nibbling Swiss cheese at Power Puff girl speed.
Roy Ayers took station at his vibraphone and sang Searchin', I Am Your Mind, You Got It, No Stranger To Love and Sunshine, as well as jammed along with the boys on the Dizzy Gillespie classic A Night In Tunisia. The drum solo in that piece, which was done both on the drum set and by the drummer's mouth, joined by Ayers, was a classic all by itself. Pausing to play the vibraphone from time to time, Ayers announced: "I just had my 62nd birthday. If you ask me what keeps me looking and sounding so young, it is the music."
His grin and expressions did present a picture of youthful exuberance and the striped suit, pink tie and baseball cap did not hurt either.
A few handclaps expressed frustration with a lengthy band change, but after Smokey Robinson slunk on-stage at 12:20 a.m. on Saturday, preceded by his two dancers/back-up singers, it was instant forgiveness. His full white suit, including a three-quarter-length overcoat, hardly seemed to need a spotlight and the cool heat of his voice warmed the farthest reaches of the venue.
Baby Baby ended with an extended 'whoooo', then Smokey Robinson outlined his Motown pedigree. The name of the legendary label was enough to send the audience into screams of delight; the narrowing down to The Temptations as his favourite group to write for sent the howls higher. When Smokey Robinson crooned some of the Temptations hits that he penned, capped by My Girl, the audience happily chirped along.
"I know what is happening. You can't fool me. You are the Montego Bay choir. You knew these songs before you came here!" Smokey Robinson said.
His banter with the audience continued, as he told a joke about 'Stevie Wonderful' to introduce Tears of A Clown.
The banter and beautiful music, along with choreographed dancing, continued until Smokey Robinson sang his penultimate number, Tracks Of My Tears. "Oh, come on choir," he enthused as the audience became a chorale. Putting his all into the song vocally and physically, Smokey Robinson carried the second night of the Air Jamaica Jazz and Blues Festival to a peak that only he could top, with only one song.
By the time he hit Cruisin, the overcoat was long gone and Smokey Robinson cut a dashing figure as, with buttons undone to chest level, he delivered the hit, his falsetto impeccable. A spotlight focused on his crotch as he prodded and poked away a bit at the slightly chilly air, warming the hearts of quite a few women.
Smokey Robinson ended by dividing the patrons into competing choirs, led by front row screamers Gayle and Angie. In the end though, everybody won, as at 1:36 a.m. all the voices massed into a chorus on 'I love it when we're cruising together' and the captain of the golf course turned 'Love Boat' strode off- stage.
