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I've never encountered a sweeter soul and more considerate artist than Sarah Dash. I first met her at the Laurie Beechman Theatre on 42nd Street in 2011.
My mom had died and I'd just returned from Florida after the funeral. My good friend, Kevin Scott Hall, a cabaret critic and performer, knew I loved Sarah both for her solo work and as part of the glam-rock group Labelle, along with Patti Labelle and Nona Hendryx.
At the time, I didn't feel I was ready to go to a show as I was in mourning, but my friend insisted. And so, I went.
Sarah didn't disappoint. During her performance, she talked about the death of her own mom.
At the meet and great after the show, I told Sarah about the death of my mom and how touched I was hearing about hers. We both broke into tears and hugged. The club's handlers had to break us up so the line of greeters could move along.
Sarah is a woman of true heart and soul. Warm, caring, sensitive.
Four years later, I attended her birthday brunch at 54 Below. It was a great show with tributes by the likes of Melba Moore and her former Labelle partner, Nona Hendryx, who tooked to the stage with Ms Dash to sing "Lady Marmalade." As for Miss Patti, she sent a congratulations via video.
Prior to that epic afternoon, I had met Patti afternoon, I saw Ms Dash at a tribute to the recently deceased Lesley Gore. I got to meet her once more after her performance, also at 54, where I first met Denise Spann-Morgan and The "Marvelous" Marvelettes. Sarah remembered me from our Laurie Beechman moment.
It was my privilege and pleasure to briefly get to know Sarah in my lifetime, a beautiful woman inside and out.
Melba Moore basically needs no introduction. She is a diva to be reckoned with; one who has conquered the Broadway stage, the recording industry and, now, cabaret. I am thrilled, then, to present to you our exclusive Q&A. This is it!
Buddy Beaverhausen: I understand you come from a musical family. Could you tell us more about that?
Melba Moore: Absolutely. My father was a musician as was my mother, who also sang. She married my stepfather, also a musician. My brother, who passed away, was a wonderful pianist who majored in Music in college. I went to college at Montclair State Teacher's College, New Jersey, majoring in Music. So music was the centerpiece of our lives.
BB: You'll be performing at the Metropolitan Room on October 30th. What might audiences expect?
MM: I hope to do a few little surprises because this is going to be my third or fourth time at the Metropolitan Room. Cabaret audiences have really evolved and they have even more sophisticated tastes nowadays. I'll probably perform songs from Broadway shows and some things from the Great American Songbook. Maybe something by Ella Fitzgerald or Frank Sinatra or Streisand. Of course, I'll be singing songs from my own Broadway shows.
BB: And will you be singing "This Is It?"
MM: You know, we're getting several request for that song. So I'll consult with some people and, if we feel it's appropriate for the room, well do it.
BB: You've worked with so many great people throughout your career. Who were some of your favorites?
MM: Oh, so many, it's hard to think. I just worked with Jeanie Tracy, who worked with the late, great Sylvester. Recently sang with Jean Carne. So many wonderful voices!
BB: Anyone you've worked with, then thought, "Mmmm... Maybe not again?"
MM: You know, I'll work with anyone. We don't need to have an ideal relationship personally. I've had some bad experiences with promoters, but not talent. Even Anita Baker, who is known for being not easy to get along with. She was always nice to me. Maybe because I don't compete with other singers when I sing.
BB: I remember seeing you as a guest on Bea Arthur's variety special in 1980. What was it like working and singing with the late Ms Arthur?
MM: Oh, she was so sweet and kind to me. She also came from a stage background and had a really good voice. I enjoyed singing Fats Waller songs with her. A gentle lady and a kind spirit. And, of course, she was so tall and white and I am so short and dark, we made a good pair. I sang "Your Feets Too Big" to her. [laughs] And the costumes and gowns were to die for. It was great fun. Great, great fun! And everything on that show was top-notch: the production, the musicians. Rock Hudson was on that show too, and Wayland Flowers and Madame, his wonderful puppet. I had a ball!
Thanks to Ron Richardson, Bernie Furshpan and Sarah Dash for helping set up this Q&A.
In part 2 of my Q&A with the one and only, inimitable Sarah Dash, we discuss her work with Keith Richards and The Rolling Stones, Megatone Records and Sylvester, the possibility of a Labelle reunion, and much more. On a personal note, I first met Sarah after a show at the Laurie Beechman. I had just come back from Floida after my mom had died. When my good friend, Kevin Scott Hall, invited me, he told me it would be good to get back out. He was right. During her patter, Sarah talked about her own mom dying and it touched me deeply. At the meet-&-greet after the show, we talked about our mothers' passings. There were tears and hugs and I was surprised at how warm and loving Sarah was. I indeed felt Lucky Tonight that evening. Sarah Dash: Are you all right? Buddy Beaverhausen: [Recovering from a coughing fit.] Just my sinuses. They're really bad today. I read on Twitter you have a cold and...pink eye?! SD: Yes. I thought I had a cold but it's allergies. And, of course, at 54 Below, I was crying tears of joy and rubbing my eyes from the paper napkins on the table, so that might be how I picked up pink eye. The other thing is, at the hotel, I was sleeping on feather pillows which I'm allergic to. But I was so tired when I got into NYC, I just crashed! BB: I heard you didn't even take your make-up off. SD: Well, that was after the show, on Sunday, I just passed out with a full face of make-up on after talking to my sister on the phone. I was zonked! And when I woke up, I was like "What's wrong with my eyes?" BB: Aww, that's horrible. SD: I'm usually very conscientious about my health and my skin care and my scalp. BB: Well, it paid off. You certainly don't look 70 by any means. SD: Thanks, I think it's paid off. BB: I recently turned 63, so maybe I need some tips from you. SD: No way! Baby, you look good! I thought you were 40-something. BB: Bless you! BB: I understand you'll be singing with Keith Richards again. He's said your version of "Time Is on My Side" is the best he's ever heard. Please tell us about working with Mr Richards and with The Rolling Stones.
SD: You can hear my voice on The Stones' album Steel Wheels. I love working with Keith and, yes, we have something new planned for everyone but I can't say much about that right now. I've recorded three times with Keith, and all these songs are being made available on cd. His newest, Crosseyed Heart, is being released this month sometime. I don't get to do a duet with him this time. Nora Jones does, and Aaron Neville as well. But getting to sing and work with Keith, who is amazing because he's a musical genius. Keith is an amazing guitar player and I cherish my experiences of working on the stage with him. He embraces many musical styles that I sing: jazz, blues, rock. I'm doing symphonic music now, singing Duke Ellington. I had my first live concert with a philharmonic, 50-piece orchestra this past July. But, getting back to Keith, when you sing with him, you get to work with the best and to shine with the best of your ability. He's a master musician and there are only a few who compare.
BB: Keith is also good friends with another '60s girl-group diva, Ronnie Spector of The Ronettes. (I think they're neighbors.) Have you and she ever met?
SD: We've never met but I admire her so very much. I haven't seen her onstage since her Brooklyn Fox days. As a talent and a unique voice, ever since I was with The Bluebelles. But also as an incredibly strong woman, to have gone through everything she's gone through and come out alive. No woman should be treated the way she was. She is a true spokeswoman for domestic abuse and I've dealt with that myself but nothing near the level of what she did.
BB: "Low Down Dirty...," "Lucky Tonight," the now-classic "Sinner Man." What was it like working with Patrick Cowley and Megatone Records, and Sylvester?
SD: I didn't actually work with Patrick because he was sick at the time. I dealt with his life partner. I remember his last name was Blackman. But he pioneered the San Francisco disco sound and we were originally to do an album together. But Blackman actually produced "Lucky Tonight" and Sylvester came to the studio and was asked to sing back-up.
BB: What was it like to work with Sylvester?
SD: He had been following Labelle when we got back from London. And he just loved the group, and he especially adored Patti and did his version of her song, "You Are My Friend." I loved him and he always came to our shows. And, once the group split up, Sylvester and I got closer and he even gave me pieces of his clothing. He was so much bigger than me, I could wear his tops as dresses. We toured some of the discos together. I love and miss him very much. When he died was right around the time my mother did, so I didn't get to see him, but Patti did.
BB: Is Labelle going to be like another great '70s group, ABBA, shutting the door on any future concerts together now matter how much money is offered, or is that not totally out of the question?
SD: I say never say never. Who knows? I heard that a producer told one of the other girls "You shouldn't be doing this and that." I recently heard from a producer interested in another reunion. But I haven't yet had the chance to talk with Nona and Patti about that.
BB: Wow, that's fresh news!
SD: See? I told you I treat you as family! I think a lot of our fans would want that and it still surprises me how much love they have for us as a group. I'm not sure if we'd be like ABBA, I'm not sure if we'll ever do another show, but I certainly won't say no.
BB: What can fans expect from Sarah Dash in the near future? And when can New Yorkers see you perform again?
SD: I'm writing a play about my life called Sarah Dash: One Woman, and I have a producer named Curtis King, who has produced people like Ruby Dee. I hope to be showcasing my artwork. I'm the Trenton musical ambassador for the Grammys and I have many other things on my plate now. And I'm preparing to get back in the studio and record again.
BB: You have such a long and stunning career and my blog consists of LGBT readers around the world, '60s girl-group fans, disco fans, Labelle fans. Any final shout outs to all of them?
SD: Thank you so much for your support, the amazing love you've shown. Thank you, Buddy Beaverhausen for this interview, thanks to Melvin Johnson and my management, and God bless you all. Much love!
Gitcha gitcha ya-yas, dadas! Here's the first installment of my Q&A with the wonderful Sarah Dash. You may be surprised by many of the things you'll learn, like what a tireless political advocate and defender of human dignity she is. Sarah just turned 70 though she looks decades younger and, in this interview, we discuss the full spectrum of her career from her '60s gir-group period up until today. Thank you so much, Sarahl You are beautiful both outside and in.
Buddy Beaverhausen: I had such a blast at your birthday brunch at 54 Below last week. Can you tell us what it was like for you?
Sarah Dash: Well, it truly exceeded all my expectations. The idea for this started in Washington, DC, and most of the people who put it together are from that area. I work with Grammy on the Hill. Each year, we go to DC and visit Congressmen and Senators at the Capitol and present them with our issues, our bills. One of them is about copyright issues. Special kudos to Congressmen Rush Holt and John Conyers for bringing this to the Floor. We also got to meet with Corey Booker and have the chance to see Michelle Obama present Alicia Keyes with a landmark award. I also met Elizabeth Warren, Grammy nominee for Spoken Word. And while I was down there, I spoke at the University of Virginia, So it was one thing after the other.
I was going to have a little get-together at home, turn on my shiny grill and have some friends to dine with me out on the gazebo. But my friend Marvin Johnson said no. So, when I walked into the club, I was astounded. There was just so much love in the room! And everyone came to enjoy themselves. It was one of the best parties I've ever had! So many old friend, and new ones like you ~ you know, we just clicked the first time we met! Nona's speech just touched my heart, as well. It was wonderful! People came from all over the country. Tweaka Turner came all the way in from San Francisco, where she does her radio show. It was a great moment and experience and I cannot tell you just how wonderful I felt that day.
BB: At the Studio 54 event, you said you are and have been a big supporter of the LGBT community. Can you expand on that a little for our readers?
SD: Yes. When I came back to Trenton to restore and renovate the house I grew up in, I had Rush Holt there and the issue of the needs of the LGBT community came up. It's not about the shows or the glamor but these are people who have political issues. It's about human rights and treating people as equals. No one has a right to say "you're excluded" or "you're an exception." And it all started with Stonewall, of course, because sometimes that's the only way you can make yourselves heard. And the hypocrisy in this country by those who oppose equality or government assistance... that's a major problem for us. That's what we stand against. LGBT people were saying "I matter too!" Black people matter, all people matter.
BB: I heard that -- when you were with Patti Labelle and The Bluebelles -- Motown confused your voice as being Cindy Birdsong's, which is how she got selected for The Supremes. Is that true?
SD: I've heard that, too, but don't know if it's true or not. When Cindy left the group, it was quite a shock to us. But Cindy had her own career and I've been so blessed with my own. We have two very different voices and I really have no regrets about my own career path.
BB: I saw you at 54 below earlier this year at the tribute to Lesley Gore. How did you become involved in that?
SD: Tracy Stark is my musical director and she invited me to be part of this show. I always admired Lesley Gore as a singer, songwriter and ultimately a strong woman making it in what was then a man's world basically. I had just had a mammogram and that night, just before I went on, I heard from my doctor that I had to have a biopsy taken. Can you imagine what I was like that night? But I'm ok, I'm ok!
BB: Could you tell us who The Ordettes were?
SD: Oh, our girl group before The Bluebelles! It was Cindy and me and two other girls. Patti was then with the Del-Capris. We all disbanded and formed The Bluebelles together.
BB: Patti LaBelle & the Bluebelles are an iconic '60s girl group. What was your favorite song from that group and do you ever perform "I sold my Heart to the Junkman" these days? SD: I love the song and I have performed it solo, but not in a while. It's such a part of the history of the group. And I expect to be performing it in the future. BB: I also recall you and Nona at the Laura Nyro retrospective outdoors at Lincoln Center a couple of summers back. Could you tell us about working with Laura Nyro and how that helped transition the Bluebelles to becoming Labelle? SD: We had already become Labelle before recording that album with Laura, so it had nothing to do whatsoever with our "transitioning." What happened was: we went to London and we were managed there by The Who's management, and they were the ones to transform our lives and our onstage personas. Then, when we were performing one night, Laura Nyro came and saw us and, after the show, said, let's collaborate on something. And Gonna Take a Miracle was born. Nona and I loved being able to pay tribute to Laura, such a great artist. [part 2 to come Wednesday]
Sarah Dash's 70th birthday celebration at 54 Below was an epic luncheon that included a two-course meal, birthday cake, a cocktail named and surprise guest Nona Hendryx of Labelle and, prior to that, of Patti Labelle & the Bluebelles. It was three hours long -- but made us want even more!
A packed house turned out for the $100-per-seat affair. As for me, I ordered the poached eggs w/ chipotle hollandaise on grilled bread with spinach and a side of asparagus. I was seated with two very personable table companions, April Sette of the NJ Buzz Radio show and her friend Nancy Pertschuk, a professional shopper. I also saw friend/ musician Tracy Stark on my way into the club.
Sarah, like Pia Zadora, is a diva with her own drink. Pia has her Piatini, Sarah has her Sinner Man. I said no, I said no, I said no no no... but the cocktails kept coming. Four to be exact. Sinner Mans are prosecco with oj, honey syrup and grenadine. Yummy! I had coffee afterwards to help me get over them when the whipped cream-with-fruit cake slices came for dessert.
A Sinner Man
Best of all, however, was the entertainment. Melba Moore belted out a couple of her numbers, including "You Stepped Into My Life" and D-Train got the house up on its feet with his soulful hiNRG. The ladies from Chic (now known as Next Step) sang some '70s gold, including 'Le Freak,"I Want Your Love" and "Everybody Dance." I got to speak with Luci Matin, with whom I recently did a Q&A along with Alfa Anderson & Norma Jean Wright.
As For Nona, she praised her singing partner of many years but, unfortunately, had nothing prepared for singing. Understandable as she flew in from the West Coast at the last minute to be a part of this affair. Nona had some pretty funny things to say, like how she loved but hated Sarah for bringing her into the world of entertainment when she wanted to be a teacher.
Nona, Sarah and Melba. Photo by April Sette
Nona said, with a straight face, that Patti Labelle wanted to be at 54 Below but couldn't because she was in Maine, catching crabs. "No, really," Nona assured us, "That girl loves her crabs!"
When Sarah Dash took to the stage at the end of the show, she sang her ballad "Im Still Here" (not the song from Sondheim's Follies), "Sinner Man" with Ari Gold and a few other guests, and, finally -- of course -- "Lady Marmalade" with a host of friends. Sarah played her birthday wishes from Patti via cell phone, with Patti saying she was unable to come because she was catching crabs. Poor dear.
Sarah said she was proud to be a groundbreaker in her support for transgendered people and the LGBT community. We love her right back.
Ms Dash said she had a cold but was in fine voice as far as her sold-out crowd was concerned. We spoke briefly after the show. Sarah Dash is a great performer but, more importantly, a survivor, an inspiration, and a kind, sweet individual it is a privilege to know. Expect a Q&A shortly.
By the way, when I mentioned Piatinis, Sarah asked if it was good. I told her it was more potent than a Sinner Man and that one doesn't fall out of a golf cart and get a concussion without a few Piatinis under her belt. I love making a diva laugh out loud.
Luci Martin was one of the voices of the femme-fronted classic-disco group, the immortal Chic. The girls have formed the new girl-group, Next Step. They will also be appearing at 54 Below's brunch celebrating Sarah Dash's 70th birthday! It was my pleasure to have the opportunity to ask Ms Martin some questiions today.
Buddy Beaverhausen: I am so looking forward to seeing you at Sarah Dash's birthday brunch on Sunday at 54 Below. How well do you ladies know Sarah?
Luci Martin: Although I do not know Sarah, personally, very well, I feel as though I have known her since the day I picked up a Labelle Album. She was and will always be an influence in my becoming an artist. Being successful at such a young age, inspired in me the possibilities of a career in entertainment in an expressive and different way.
BB: There's a whole new interest in classic or classic-styled disco music that's been going on. Why do you think that is at this point in time?
LM: I think it fills a void in today's industry. Sometimes, you just want to dance and feel happy. That is what dance music does for you. We are coming out of a time of hardship, depressed economy and aggressive political views. It can be a bit overwhelming and makes us think of a happier time. I think that the disco style and message embodied a lighter head space and a sense of release. There is also no age requirement for its enjoyment and I feel as though they are key factors in its resurgence.
BB:Nile Rodgers has a new album. You're on a track or two I understand. What was doing that like?
LM: For me, there was a bittersweet element to it. It instantly took me back to the good times we all shared (pun intended) and the relationships we built and yet it was just as strongly a reminder of what has passed and who was missing. For many years, I shared a life with a special group of talented people and the two most important influences in my life were gone. Bernard and Tony. Having the opportunity to record again with Nile and Alfa, along with the ghostly whispers of my best friends was magical for me. Combine that with working along side with old and new friends and the wonderful vocalists now working under the Chic organization is something I will forever feel grateful for.
BB: What can we expect from you on Sunday?
LM: You can expect some Good Times, both literally and figuratively. We are excited to be a part of this and mix a little old with a bit of our new.
BB: You ladies are fantastic! Iconic disco divas yet still on the scene relevantly. What's this about a new song with Aristofreeks?
LM: Our recent release is entitled 'Get On Up' , off the PEM label featuring music by Aristofreeks, and we hope the title and music entices everyone to do just that. Our dear friend Kathy Sledge wrote the lyrics for us.
BB: What's it like to work together as a group for so long?
LM: A lot like riding a bike, lol, after a few adjustments, a reintroduction to how the machine works, it's all forward movement.
BB: Any forthcoming gigs in the NYC area?
LM: We are working on developing our show, music and letting the public learn who we are as a group, so naturally doing live shows is our ultimate goal. We expect to have a schedule soon which can be found on our web page,www.nextstepmusic.us
BB: What music did you grow up listening to? And what singers influenced you most?
LM: I grew up as a child listening to jazz and opera, my dad loved classical music, but as i grew older, i became a fan of musicals and old movies in black and white for the beautiful classic clothing. I guess that makes it fortuitous that I would end up in a group named "Chic". I later gravitated towards groups like Labelle, Mother's Finest, Mint condition and, of course, Stevie Wonder. Joplin, Baez, Manchester, Laura Nyro, and a host of country writers also were big influences for me in my writing.
BB: Any contemporary artists you enjoy listening to?
LM: Right now I am a big fan of artists like Jill Scott, India Arie, Sia, Maya and Adele..hmm I just realized I have no men listed haha, well I appreciate them also, but I find the ones who are primarily writers I admire most. Did I mention Amy Winehouse??
BB: Can you tell us anything about your performance at Sunday's brunch?
LM: t will be fun, casual and inviting. A dedication to my sister in song.
BB: Any last shout-outs to my international readership and disco-lovers?
LM: Without you, I am just a dream. Thank you all for being more than just a fan and for the years of support!
BB: See you Sunday and thank you for this interview! Can't wait to meet you.
Sarah Dash will turn 70 on August 18th. She will be feted at a brunch at 54 Below, which is where I last saw her when she was part of Tracy Stark's tribute to Lesley Gore.
According to her press release:
54 BELOW, Broadway’s Supper Club will host Sarah Dash’s upcoming milestone birthday on Sunday, August 23, 2015 from 11:00 AM – 2:00 PM. This 70s Disco themed brunch is a play on words – the singer turns 70 this month (August 18th) and is perhaps best known as a powerful one third of the groundbreaking 70s group Labelle which was also comprised of Nona Hendryx and Patti LaBelle. Guests should expect a number of surprise appearances from a virtual “who’s who” from the world of music as well as a touching tribute from Tony-award winner and Grammy-nominated singer, Melba Moore. In addition, Alfa Anderson, Luci Martin and Norma Jean Wright, the magnificent lead vocalists on era-defining CHIC records “I Want Your Love”, “Everybody Dance”, “Le Freak” and “Good Times” are set to perform these classic hits as well as debut music from their hot new group Next Step. "The Sarah Dash Birthday Celebration: 70s Disco Brunch is a gift to Dash from her longtime supporters who have followed her from her start with Patti LaBelle & The Blue Belles which morphed into the unprecedented rock-soul-funk trio Labelle to a solo career filled with remarkable individual achievements. “I was blown away”, says Dash, “when a group of fans approached me with the Disco Brunch concept. They organized themselves, pooled their funds to secure the venue, and are literally throwing me a 70th birthday party.” “I don’t think there is a higher honor than to have people show their appreciation in such a way”, she concluded. “I am truly grateful.” Tickets to the 70s Disco Brunch hosted by 54 BELOW (254 West 54th Street/Manhattan) are available now at www.54Below.com. The cost of a ticket is $100 per person and includes a two-course brunch, a bottomless cocktail aptly named after Dash’s international solo hit “Sinner Man”, and once-in-a lifetime performances. With food, laughter, flowing cocktails and a dynamic show this event is not to be missed.
For more information, call: (646) 476-3551.
I am so looking forward to celebrating Ms. Dash's birthday in high style as befits a diva of her stature. Could it be any more appropriate it's taking place under the old Studio 54? Special thanks to Marvin Johns.
What a wonderful night it was indeed as 54 Celebrates Lesley Gore rocked the packed house at the swank, underground nightclub, 54 Below. The show not only highlighted Ms Gore's hits as well as her lesser known numbers, but it did it all in grand style. My friend, singer Ron Giles, was my guest and he was at times, moved to tears. At one point, he danced in the aisle -- and who but Sarah Dash of LaBelle got up to dance with him, lucky guy.
The line-up of talent for this event was amazing! The Marvelettes, Sarah, Lorraine Ferro, Molly Pope, Maxine Linehan, Jill Abramovitz, Lorinda Kisitza, Gabrielle Stravelli. It was a pleasure to meet some of these ladies after the show.
Tracy Stark's musical direction was assured throughout. The show opened with the upbeat but little-heard "Mama I'm a Rocker," with Lorinda on vocals followed by the pop hit "Maybe I Know," sung by Gabrielle. The crowd immediately caught Lesley Gore Fever!
This was a show where, frankly, every interpretation was a highlight, really. But I must single out The Marvelettes, whose original vocalist, Denise, was quite the raconteur. What a voice this lady possesses! And her fellow vocalists are far from slouches as they covered "Look of Love" and belted out the final song, "It's My Party."
News of the night was distinctly Tracy Stark's announcement that she has a forthcoming album of her own featuring varied vocalists -- including Lesley Gore.
It was wonderful to hear faves like "Sunshine, Lollipops and Rainbows," the "Run, Bobby, Run/Off and Running" medley, "She's a Fool," Judy's Turn to Cry," the Oscar-nominated "Out Here on My Own" (written by Lesley with her brother Michael for the movie Fame)
Kudos to all. And that includes the staff at 54, prompt, polite and attentive service as always. This show was a treasure and an event I will remember and cherish a lifetime.
We surried down to a stoned soul picnic that was happening in Damrosch Park Saturday night. It was the free concert celebrating the music of Rock & Roll Hall of Famer, Laura Nyro and it was nothing short of magnificent at a compact 90-minutes. But what a tribute, what talent, what a dazzling experience of songs and voices!
We arrived an hour early for the event that officially kicked off at 6 pm so we could get choice seats. On my way back for a pino grigio at the concession stand, I ran into one of the back-up singers from Nona Hendryx's new album, Mutatis Mutandis, Kenyata Hawkins. She was quite sweet and demure. The last time I saw her, onstage at Nona's B.B. King's gig, she was decked out in hot pants and a tight white tank top. She informed me she helped write the album's stirring funk-disco "Mad As Hell," though she is noticeably not credited on the liner notes. No matter, she was there to support Nona.
The back-up singers on the park's stage, fronting a full orchestra, included back-up singers Ula Hedwig and Charlotte Crossley (two of Bette Midler's original Harlettes). Is there a hot gig in Manhattan at which Ula does not turn up as a back-up girl?
Songwriter, producer, musician, ex-member of The Young Rascals, Felix Caviliere, conducted and even performed "Blowin' Away." Mr Caviliere was the producer of Ms Nyro's Christmas and the Beads of Sweat album.
"They had voices then" is a message one might take away from this show's line-up of seasoned veterans, though it opened with relative newcomers, Jan Nigel & the Ebony Hillbillies who nicely presented Laura Nyro's classic, "And When I Die," and Kate Ferber who strongly put across "Stony End" with a lively arrangement.
But it was the seasoned diva superstars who really drove the musical legacy of Laura Nyro home for us.
Desmond Child & Rouge were a welcome sight (and sound) from halcyon days. Their extended version of "Eli's Coming" (a huge hit for Three Dog Night) was wonderful. Ms Nyro's son, known theatrically as Gil T, joined in during the bridge to do a rap that, unfortunately, seemed to add nothing to the number, aesthetically, and was off-topic as far as I could tell.
I was in college when the Gonna Take a Miracle album was released. As part of fulfilling her contract with Columbia records, Nyro put together an album of her favorite '60s pop tracks (including a forever haunting version of "The Bells") that has become a classic. At the time of its release, it largely received tepid reviews. At a party on campus, I overheard the album being dismissed by many as "decadent nostalgia" that was hoping to cash in on Bette Midler's then-trending reinvention of pop standards for a '70s rock'n'roll audience; something that rose up from the gay camp underground. Culturally, the '60s were just over and early-'70s music wanted to move in a different direction. Still, the album was then, and now remains, a favorite that spoke to me in a special way. It still does. Aching, haunting, soulful and dance-oriented; something new was being born from what was freshly old.
Columbia also brought in the group Labelle to do back-up for Ms Nyro. At the time, Patti Labelle & the Bluebelles were transforming into the glam-rock Labelle, to take flight after their work on this iconic album.
In concert, then, Sarah Dash and Nona Hendryx powerfully put across Nyro's arrangements on tracks like "I Met Him on a Sunday," "You've Really Got a Hold on Me," "Gonna Take a Miracle," and the "Monkey Time/Dancing in the Streets" medley that brought all of Damrosch Park to its collective feet, dancing in the park and clapping to the beat. It didn't matter what we wore just as long as we were there. And we were -- not just in body, but in heart, spirit and intellect. Unfortunately, Patti was not there as she has a lot of Lady Marmalade brand marinades to sell. It was irrelevant, as the diva combination of Dash & Hendryx already was through-the-roof sonically, their vocal power and soulfulness inspiring.
Tony award-winner Melba Moore established something of a comeback at this show, looking swell and svelte in black, and in great voice. She belted out "Time & Love," an L.N. song she'd recorded, and the popular "Wedding Bell Blues," shaking the stage rafters with her voice, and even returning for a series of bows while holding her exiting high note.
Melissa Manchester, Grammy winner and a recipient of last year's Bistro Awards, was a goddess in white as she danced across the stage to her piano and launched into "Save the Country," with such force and theatrical flare (not to mention excellent timing of the title message), it roused the crowd once more.
She concluded the show by singing "Stoned Soul Picnic," but not before talking about the influence of Laura Nyro on her own work. Manchester discussed Nyro's rich and inventive vocabulary.
"Anyone know what 'surry' means?" We all did, of course, in our souls. We were all connected in spirit. We were all, artists and audience, paying tribute to the legendary and unique Ms Laura Nyro. It was communion, it was perfection, it sent us into the streets with joy and hope.
I last saw Laura Nyro perform at The Bottom Line. A live recording was made from that show. I will never forget her. She led me, musically, through adolescence to young adulthood, and the concert was a peon to that voice, that uniqueness, that influence. Bless you, Laura, we were together to celebrate and remember.
Nona @ BB King's NYC, from my iPhone, photo by Jade Da Ru
The 68-year-old powerhouse known as Nona Henryx arrived, ultimately, onstage at BB King's in Times Square last night, giving a rousing and extremely energetic performance that not only had the crowd on its feet, but onstage with her as well. (See above.) She also proved, beyond doubt and in spandex, that she still has, beside one of the hottest voices, one of the hottest asses in all of show business.
It was the official release performance for her fantastic new album (the first in 20 years but worth the wait), Mutatis Mutandis, available on Amazon in the US and on Amazon UK.
She took to the stage in a black jacket with attached flounce skirt, only to unzip and doff it shortly into her set, revealing an amazing, gym-fit body in black spandex, tattoo-patterned black stockings and platform shoes. Attention divas of the day: this is how to look sexy without looking cheap.
Gitcha gitcha yaya, dada!
Somewhere along the way, I realize Nona has been a musical voice throughout my lifetime. She began as a Blubelle, one of Patti Labelle & the Bluebelles, a '60s girl group that transformed famously into the glam-rock/funk/disco group of Labelle. Their smash hit, "Lady Marmalade," remains one of the best remembered and loved songs of early disco.
Nona parted ways with the group and began an outstanding solo career, writing most of her songs, with a unique funk/soul/techno/disco fusion all her own. The integrity of that style, with additional flourishes, are on Mutatis Mutandis, I'm happy to report.
Requested to sing the Ellie Greenwich-penned "Keep It Confidential," a club hit for Nona, the diva responded by doing an improv abridged version, stepping offstage and walking through the front tables of the audience, accapella, with the crowd's in-time clapping as percussion with assist from the band and back-up girl riffs. Amazing live moment!
Her new album is quite political, with timely numbers on it like "Tea Party" and "The Ballad of Rush Limbaugh." She didn't do these onstage, however, but dived right into the big, splashy funk-disco of "Temple of Heaven," "Let's Give Love a Try" and "Mad As Hell," a politically tinged number you can dance to. Get your anger out your ass!
Nona's four-piece band was outstanding, as were the back-up vocalists. There was a man in black and two bodacious black girls in trashy tight, white tank tops and hot pants. Such were the costumes of the night but, boy, could they sing!
I love Nona's unique groove, so much more than the group Labelle could possibly ever handle. Her recent vocal evolution includes a rich falsetto breaking from her alto voice, put to good and charismatic use.
The diva did the rousing "Winds of Change" and "Transformatons" (bringing on rapper/singer Shane Rose to update the '80s dance hit). The new "Let's Give Love a Try" sequed fearlessly into "Take Me to the River" mid-way through. But her hit, "I Sweat (Going Through the Motions)" was the piece de resistance as she invited up audience members to dance behind her. Nona showed off her being game and open to anything that might happen here, especially. One queen tried to upstage Miss H on her stage, but she laughed and compared him to a member of the Cats chorus boys. Don't funk with the diva!
This impomptu chorus dance ultimately ended with the audience members turning around, backs to the still seated audience members, shaking their booties for a full minute at a time, along with Nona's, largely to comic effect. At this point, a good time was had by all and it signaled the end of the set.
Labelle Reunion
But Nona returned with even bigger and better for her encore. After a very Yoko-like, avant-garde rendition of "Strange Fruit," the Billie Holiday song (a track off Mutatis Mutandis), Nona invited up none other but the equally divine Sarah Dash! The two-thirds of LaBelle then beautifully shared the stage by belting out "Lady Marmalade" together. http://djbuddybeaverhausen.blogspot.com/2011/10/dash-it-all.html
We left BB King's elevated, wrung out, blissed out, very pleased and elevated in every way, onto hot, crowded 42nd Street. Welome back, Nona. Come back with your comeback soon!
[Opening act, Ryan Shaw, did a smooth soul set, in the solid tradition of Sam Cooke, Stevie Wonder and Luther Vandross, for examples. His soulful cover of The Beatles' "Yesterday" was a true highlight.]
One definition for the word "dash," I discovered, is "a combination of style, confidence and energy," and that certainly applies to Sarah Dash, who performed yesterday evening at New York's intimate Laurie Beechman Theatre on 42nd St. The last time I saw Sarah perform, it was as a surprise guest at Nona Hendryx's act at Joe's Pub, several years back. Sarah came up from the audience and joined Nona in an exciting, show-stopping rendition of "Lady Marmalade," the #1 hit tune they recorded in 1975 as two-thirds of the funk/glam-rock girl group, Labelle. The missing party was Patti. The trio of fabulous voces went on to solo careers after the breakup of their group. The women reunited in 2008 to record the somewhat uneven album, Back to Now, which peaked on Billboard at 45. The single, "Superlover," was handsomely buoyed by good remixes, however, which ultimately sent it to #8 on the dance/club chart.
Sarah recorded a string of dance-music songs, notably 1978's "Sinner Man," which rose to 5th place on that year's Billboard dance list; "Lucky Tonight," "Lowdown Dirty Rhythm" (both produced by the legendary Patrick Cowley in 1983) and "When You Talk to Me/Manhandled" (a 1990 Jellybean Benitez production).
Sarah was the pretty, quiet one. She was to Labelle what Mary Wilson was to the Supremes: the demure one in the middle of two stronger, more willful personalities. I knew she could belt a song out of the park, but who knew she had a voice? That is, until her solo show last evening, during which she amused almost effortlessly with her patter.
Ms Dash is quite the raconteur, best when not following her script. This is one Sarah you want to hear off-message, like when she lets it slip that Cindy Birdsong got plucked from Patti Labelle & the Bluebells to be one of the Supremes (after Diana darted) because Motown mistakenly thought Sarah's voice belonged to Cindy. They were later reportedly disappointed.
Dressed in a gold, sparkly outfit and humungous stilettoed platform boots that echoed her glam-rock days, Ms Dash opened with her new single, the ballad "I'm Still Here." The song was penned for the '08 Labelle album but overlooked. "They said it showed promise," Dash said sardonically. But, last night, the promise was fulfilled and it set the tone for the singer's gratefully long set.
"Time Is on My Side" was the second number. When performing with The Rolling Stones, Sarah took the lead vocals on that one, which, Keith Richards said in his autobiography, is 'the best version of that song I've ever heard'."
The rest of the show, simply titled Sarah Dash: One Woman showcased the diva's powerhouse deliveries and range. From raunchy blues numbers to inspirational gospel to jazz, rock and disco, Sarah Dash can do it all. And her free-wheeling monolog strings things together with a great sense of humor and pathos. She discusses her mother's death and her own illnesses, career collapse and other crises, and weaves them into her songbook for the night. She covers standards like "What a Difference a Day Makes," "I Love Paris" and "You Don't Send Me Flowers" with an immediacy of feeling and stylization that makes the trite fresh and emotionally real. Ms Dash, apparently lovingly, refers to the late Laura Nyro as "that heifer" with whom she worked when with Labelle on the now-classic "Gonna Take a Miracle" album. She then does a brilliantly soulful cover of one of Nyro's lesser known numbers, "Buy & Sell."
There is a rousing portion of the show dedicated to her Labelle songs; "What Can You Do for Me?" being the highlight. Her solo hit "Sinner Man" is presented but, unfortunately, marred by the lack of flourishing orchestration essential to that tune. (A keyboard and tambourine don't hack it, I'm afraid, when put up against swirling strings and cowbells.) Musical director and keyboardist Lanny Meyers is, however, generally brilliant. Sarah's two back-up guys give strong support, especially during the LaBelle numbers.
Sarah Dash returns to Laurie Beechman on November 17. Her new album is to be released early in 2012.
But now for last night's unrelated random thought. Talking after the show, my friend and I pondered whether Republicans are turning away from the Tea Party in favor of the Potato Chips, Pretzels & Other Junk Food Party. I mean, candidates named Cain and Bachmann? Are candidates Wise and Frito-Lay soon to throw their hats into the ring?
To close, let's update the more interesting developments on the Billboard dance chart: Taylor Dayne glides up to #13 from 16 with the fab "Floor on Fire," ever so close to the top 10; Kathy Sledge edges up one spot to #20 with "Give Yourself Up;" Dev snatches the #1 spot from Gloria Estefan with "In the Night," while Lady Gaga's "You & I" comes breezily up behind her, conquering #2 for now and almost certain to take #1 by next week.
Sarah Dash's rendition of "California Nights" was indeed a powerful one, though better yet was her interpretation of the anthemic classic "You Don't Own Me."
