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charlotte ^ost ARTS & ENTERTAINMENT 7A THURSDAY May 20,1993 Singer Conducts Tonight i w. t ■ H ■ •JW!" Nine-time Grammy award winner Bobby McFerrln will conduct members of the Charlotte Symphony at 8 p.m. Thursday in the North Carolina Blumenthal Per forming Arts Center's Belk Theater. The repertoire will Include Beethoven's Symphony No. 2 in D major, Op. 36. McFerrln has been study ing with Gustav Meier, America's foremost teacher Bobby McFerrln of conducting, and plans to dedicate four to six weeks of each year exclusively to con ducting ctigagements. "It started as a fantasy, something I wanted to do for my 40th birthday," McFerrln says. "But after conducting the San Francisco Sympho ny in Beethoven's Seventh Symphony, I got bit by the conduettr^g bug and I looove it." The son of classical sing ers, McFerrln,43, began stu dying musical theory at 6, shortly before the family re located to Los Angeles. Plano was his primary Instrument In high school where he led a quartet that specialized In Henry Manclni and Sergio Mendes covers. McFerrln studied at Cali fornia State University, Sac ramento, where he developed a love for jazz from listening to Miles Davis' Bitches Brew LP and the work of Keith Jar- rett. He studied also at Cerri tos College. Once finishing his educa tion, McFerrln went on the road with the Ice Follies, then with a few Top 40 bands, lounge acts and dance troupes. But McFerrin's life's goals changed In 1977 when he felt the urge to become a singer. After sensing the limitations of cocktail lounges, he and his wife Debby hit the road In search of his calling. After a period In New Orleans with a band called the Astral Pro ject, the McFerrin's settled In San Francisco in 1979 where Bobby made three Important contacts -- BUI Cosby, Jon Hendricks and Linda Gold stein. Hendricks, the godfather of jazz vocalists, offered McFerrln his first major gig. Cosby heard McFerrln and Hendricks perform together and was so blown away he arranged to have McFerrln perform at the 1980 Playboy Jazz Festival at the Holly wood Bowl. Goldstein was a singer making the transition to the business side of music who became McFerrin's manager. In 1981, McFerrln played the Kool Jazz Festival In New York. The performance got him signed to Elektra/ Muslclain label, which re leased his self-titled debut LP In 1982. The work featured an all star cast which Includ ed Phoebe Snow. McFerrln toured extensive ly with his own band and collaborated with Herbie Hancock and Wynton Mar salis. He decided to do unac companied concerts In 1983, which led to a solo tour of Germany In 1984. He record ed the live The Voice LP, which stressed his vocal techniques, range and abili ty to mesmerize an audience. McFerrln continued to work with a varied group of musical and non-musical artists which Include Garri son KeUlor, Jack Nicholson and Weather Report's Joe Zawlnul. He won Grammles for work with the Manhat tan Transfer on "Another Night In Tunisia" and the theme music for "Round Mid night." See McFERRIN On Page 9A Off Tk. 5k.I[ Editor's note: For the next several weeks this column will feature book reviews from area elementary students. This week's reviews were done by students from Westerly Hills Elementary School. The Chocolate Touch By Patrick Skene Catling The book 'The Chocolate Touch" Is about a boy named John Midas who loved chocolate more than any thing In the world. One day he was going to Susan's house and on his way he found a funny old coin. He just had to buy a piece of chocolate. He went to the candy store and asked,"can I buy something with this funny old coin?" The man was glad to trade him a whole big box of candy. He ran out the store before the man changed his mind. He opened It and it was only one piece of candy. He felt really bad, but he ate it. It was so good he wanted some wa ter. The water turned Into chocolate. If you want to find out the rest, you will have to read the book. I really liked this book because I learned that you shouldn't do things you know are wrong or you'll have to ac cept the consequences. If you want to find out the end, go to the public library and check out "The Chocolate Touch" by- Patrlck Skene Catling. Latresha Stewart 5th grade The Great Mom Swap By Bet^ Haynes "The Great Mom Swap" Is about two girls named Scotti Wheeler and Loma Mark ham. They are best friends and next door neighbors. They each share the same problem: their mothers. Lor- na's mother nags her about her potential and says "stand up straight dear be proud that you're a tall Tex an" and always asks "why can't you be more like Scot ti?" Scotti's mother nags her about her eating habits. Not to be so fussy about healthy food. Her mother always said "why can't you be more like Loma?" Sometimes Loma would think If she wasn't my best friend I would absolutely hate her. So on summer vacation they decided to swap moms but they find out its a big mistake! Joanna Perez 4th grade See "OFF* On Page 8A Janet Jackson Janet. Producers: James K. Harris m, Terry Lewis, Janet Jack- son and Jellybean Johnson Virgin Records ☆ ☆ lir ☆ Following up an album as successful, both critically and commercially, as Janet Jackson's Rhythm Nation 1814 is no easy task. With sales of more than 6 million copies and seven Top 5 singles, Ms. Jackson had a world of pressure on her to top those achievements. Apparently pressure makes Ms. J more creative. She and groove melsters Jimmy Jam and Terry Lewis have topped Rhythm Nation with a CD that bristles with excite ment. Gone Is the shy, coy Jack- son who wanted to save the world. Now she's more con cerned with matters of the heart and she uses rap, house, hip-hop and funk to get her message across - I'm a woman now and I'll talk about my evolution In no un certain terms. There are 27 tracks listed on the CD, but 13 of them are snippets or segues Into the next track. After the snippet "Morning," the CD opens with the monster smash "That's The Way Love Goes," a throw down, throw back to sweet '70s grooves. A sample from James Brown's "Papa Don't Take No Mess" is fea tured in the song, but It's Jackson's cool, assured vo cals that make this song click. It has already streaked up both black and pop charts, planted firmly In the No. 1 spot. It Is one of many songs that has the potential to hit the top spot. The song also shows the more mature path Jackson has chosen to take. "Oh baby, don't stop, don't stop/Go deeper, deeper baby/It feels so good I'm gon na ciy," says Jackson as she urges her lover on. If you think that's a bit steamy, wait until you get to "If." Jackson taunts her lover In the song's chorus: If I was your giji/Oh the things I'd do to you/I'd make you call out my name/rd ask who it be longs to . . But Fm not, so I won't/But, If I was your girl Jackson spews lyrics like venom, chanting the words at a dizzying pace over a slammln', classic infectious groove provided by Jam and Lewis. And If you're looking for something more direct and to the point, 'Throb" Is just the thing for you. It's a rous ing house number that has Jackson moaning When you start to pounding/Love to feel you throbbing. I generally don't like songs with such lyrics but Jackson pulls them off without sounding as brash and out landish as rappers who talk about the same subjects. Jackson does employ the talents of rapper Chuck D on "New Agenda," a song that takes her back to the social consciousness of Rhythm Nation. The pair says "It's time to rejoice/A new agen da's due," amid a swinging hip-hop beat. Chuck D's vo cals bring an urgency to the song, keeping It from just be ing preachy. But dance and rap aren't the musical forms Jackson Is comfortable with. "What'll I Do" Is good-time '60s soul/ rock. "This Time" combines some Hendrlx-lIke guitar rifts with opera diva Kath leen Battle's ethereal voice. It sounds odd, but believe me. It works. "Again" almost doesn't work, with Its Broad- way-llke string arrangement and sappy lyrics. Jackson puts enough polish on It to make It pass. The other ballads work quite well, thank you. "Where Are You Now" is rem iniscent of "Come Back To Me," but has a reggae-llke shuffle. "The Body That Love You" returns to the more adult theme, floating over a relaxed melody with a lovely 12-strlng guitar solo. "Any Time, Any Place" Is a bit more to the point, with an ally, cool groove. Jackson has included a ve ritable cornucopia of musi cal styles, but keeps them from fighting each other. Credit much of that to Jam and Lewis, the best producing team In the music Industry. Who else but this shrewd duo could have Kathleen Battle, Chuck D and samples by the Supremes and James Brown on the same CD, and make it all work? No one. And'no one but Jackson could pull off being the glue that makes it all stick to gether. Michael, make a little room. You've got to share the throne with the Princess of Pop. Rating: ☆☆☆☆☆ Classic ☆☆☆☆ Excellent ☆☆☆ Good ☆☆ Fair ☆ Why?
The Charlotte Post (Charlotte, N.C.)
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May 20, 1993, edition 1
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