Newspapers / The Charlotte Post (Charlotte, … / Jan. 5, 1984, edition 1 / Page 19
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. . _ _JS" ■ p- ChiHo»lf i Futni Growing Gommunily VnUy” ' * * 1 ^ ■ i .——^_ -—___'Thnraday, January 5. H84 - THE CHARLOTTE POST - PwlB -^. Releases arious Artists Newly-discovered live ^recording of Mile* Davis and Thekmious Monk, both f. showing off each artist at the prime of their careers, ' ; highlight tUs week’s issue . fit she new entries in the . much-praised Contem porary Masters Series on Columbia Records. Hie re lease also includes sets of guitarist Kenny Burrell, f trombonist A1 Grey, and multi-artist compilations of various instrumentalists and various vocalists. This is the sixth batch of Contemporary Masters albumf in as many years, and represents the third appearance by Mile* Davis in the series. Heard ’Reend The World is a doubte-LP cert dnrisg^ltM tours of one and twowere recorded liveMKohsefaieiiMin Hall in ?i; Tokyo with a group com prising Miles on trumpet, Sam Rivers on tenor saxo George Butler ....Charlotte native and drummer Tony Will iams. Sides three and four w|re recorded at Berlin’s “Berliner Jazztage ’64” with Miles backed again by Hancock, Carter, and Will iams, and Wayne Shorter on tenor sax. Liner Notes were written by Gary Gid dins. The fourth set of life TVeknious Monk double LP performances in the Contemporary Masters Series is simply titled Puppets Are Critters? that Puppeteers Donald Devft, Drew Allison and DeeBraxton use about 20 lln eight skits. They v f in black theater which means they are fufly visible, not hid den beneath the puppet atage. Almost immediately yen forget about them since each wears a Hack tunic and gloves and what kjflta^Hke • beekeeper’s While younsterB should enjoy Gray Seal’s more adveutursonie moments, their elders win bring an extra appreciative edge to tgo dancing draftsmen’s lamps, the clown with the rsvjsrtfole face, the mind sets of dancing foam fact. This award whining show received Us national premiere at tbePuppeteer* of American National Fes tival held this year in Ames, Iowa "'if w <ZF7*t» Tokyo Concerts. All four sides were produced by Teo Macero, recorded live at Tokyo’s Sankei Hall on May 21,1963. Joining Monk (Hi piano and Charlie Rouse on tenor saxophone were bassist Butch Warren and drummer Frankie Dunlop. Annotator Bob Jllumentha] describes this particular quartet lineup as “one of the best, if not the best, of Charlie Rouse’s decade with the pianist.” Kenny Burrell’s Blnesin’ Around consists of all pre viously unreleased mate rial from four sessions pro duced by John Hammond during 1961-62. As detailed in Bob Porter’s liner notes, these were “a swing date” (was tenor saxophonist Illinois Jacquet and pianist Hank Jones); "a modem date” (with Jones, bassist George Duvivier, and trombonist Eddie Bert); and “an organ session” (with Jack McDuff and Leo 5 Wright on alto sax). 8trnttin’ and Shoutin’ “which reveals (Al) Grey in all his pi lingered glory,” as Ira Gitler’s liner notes quip, was produced by John Hammond and in tended lor release in 1976. This all-star blowing ses sion - featuring Grey on trombone, trumpeters Waymon Reed and Danny Moore, and saxophonist •Ernie Wilkins, Jimmy For rest and Cecil Payne - takes off on five originals by . Grey and Wilkins, along with 8tardast and All of Me. Columbia’a Contempo rary Masters Series con tinues to set the pace with this outpouring of previous ly unreleased recordings. Since its inception in 1977, the Series has offered music by Charlie Parker, Lester Young, Duke Elling ton, Charles Mingus, Clif ford Browgr Max Roach, Ornette Coleman, Roy El drige, and numerous multi-artist compilations. Executive producers of the Series are Jfam Ftahel and Dr. George Butler. SINGER IRENE CARA Appropriately primed Irene Cara Began Honing Her Craft At An Early Age By Loretta Manago Post Staff Writer With a great-aunt who plays five instruments and a father and brother who are musicians, the direc tion Irene Cara would take professionally seems to have been pre-charted for her. Since the age of five, Ms. Cara has been exposed to /-the entertainment arena. As a matter of fact, she has been working and honing her craft since she was in elementary school, playing the piano by ear and study ing danice, singing and piano. Although seven years old may seem to be an early age for someone to be associated with show busi ness, Ms. Cara had al ready been appropriately primed for that Hfe. Her first performances were benefits and appearances on local New York Span ish-language TV and radio shows and before she turned 10 Ms. Cara had made her Broadway debut as one-of the orphans in the Jack Cassidy-Shirley Jones musical Maggie Flynn. The pattern that became characteristic of Ms. Cara’s growing popularity was attributed to the fact that the more she was seen the more in demand she became. Still at a very young age, Ms. Cara was asked to appear in a tri bute to Duke Ellington at Madison Square Garden where she shared the stage with such luminaries as Sammy Davis Jr., Stevie Wonder and Louis Arm • strong. While Ms. Cara ad vanced in age so did her ability to please varying crowds. Another musical, The Me Nobody Knows, a stint on The Electric Com pany, a co-boot on an NBC talk show and a guest star on various television shows including Kojak. What’s Happening and Johnny Carson all earmarked Ms. Cara’s oncoming success. During the mid-seventies Ms. Can extended her ta lents from singing and embarked on a film career. At age 15 she made her feature film debut in Aaron Loves Angela. Following that movie score was Ms. Cara’s starring role in the Warner Bros, film Sparkle. Ms. Cara’s rich experience in television productions such as Roots: The Next Generation, Hie Guyana Tragedy: The Story of Jim Jones and Sisters coupled with her Broadway work all played a hand in- a significant breakthrough for her. That breakthrough was the movie Fame in which Ms. Cara starred and sung the movie’s title song. Not only did the song Fame leap to the top 5 position on the record charts, but the song garnered an Oscar for the Beat Original Song in I960. A 16-year veteran of film, theatre, television and re cord, Ms. Cara, for one so young, has indeed accom plished a great deal, but for one who never rests upon past laurels there’s still more conquests to make.
The Charlotte Post (Charlotte, N.C.)
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Jan. 5, 1984, edition 1
19
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