CLUB REVIEW 111111111/1111111111111111111111111111111111111111 Torch Singer Fleeman, Manhattan Transfer Tantalize Paradise Room NEW YORK - How can an voices, on both audio and visual evening filled with songs about levels. blue champagne, Fred Astaire and Three harmonies were set to pork chops 'n gravy be anything ride with one lead vocal for "Pork but charming and uplifting? Such Chops 'N Gravy," introducing the was the mood set when Gregory audience to the glossy treat that Fleeman and Manhattan Transfer lay in wait. Strong crowd reaction (Atlantic) entertained the crowd came from the performance of that filled Reno Sweeney's Para- "Gimme Some Skin," which was dise Room recently (18). delivered in a very professional Gregory Fleeman manner and was perfectly paired Gregory Fleeman kicked off the with the prevailing ambience. festivities with his "The Fred Other pleasing selections in- Astaire Memorial Tap Dance cluded "Candy," the gospelly Theme Song" (anyone who possible single (from their forth- chooses to pay tribute to the coming Atlantic album due out immortal feet of the divine Mr. sometime near mid -February), Astaire is obviously exercising "Operator," "Aurora" (which fine taste and a very special seemed to come directly out of a awareness), performed acapella Dolores Del Rio star-studded film 20th Century recording artist Maureen McGovern, who recently recorded her theme and in Fleeman's quite unique, extravaganza), "Java Jive" and an song from the "Towering Inferno," stopped by Record World West with independent promotion sardonic style. The comic singer/ elegant blues ballad, "Blue Cham- man Mike .Borchetta and 20th Century's Bill Pfordreisher. Pictured (from left) are RW's Lenny Beer, McGovern, Borchetta and Pfordreisher. songwriter minimally accom- pagne." Their doo-wop expertise panied himself on guitar and was displayed via "Heart's De- piano for the CLUB REVIEW ensuing selections, sire" and "Guided Missies." Sim- 11111111111111111111111111111:1111111111111111111111 delivered charmingly in his ply swell. straight-faced motif, with "Skin," Roberta Skopp Weisberg, Hamill Hot at the Troub "Clothes Make the Man" and LOS ANGELES CLUB REVIEW - Against an most singularly impressive aspect "Slippery When (a - Wet" love exotic backdrop of trees (Both of the group's performance. song to the Tappan Zee Bridge) the palm and Christmas varie- Weisberg programmed his in- being the more communicative Muldaur Makes Magic ties), his named spelled out in strument through an ARP synthe- and relatable compositions of his lights above him, flautist par sizer, lending an eerie quality repertoire. At L.A.'s Troubador excellence Tim Weisberg (A&M) to such stand -out pieces Manhattan Transfer LOS ANGELES The lady who as - edged one step closer to the top "Scrabble: X,Y, and Z" selec- Manhattan Transfer's material brought us "Midnight at the - of the progressive -pop (formerly tions from last year's "Dream - encompassed all forms of nostal- Oasis" and a lot more, came jazz) heap. The Troubador and speaker" Ip. Other highlights of gia, with concentration exerted back to the Troubador (18) after Tim Weisberg have always mixed the set included a pair of cuts on '30's and '40s material, all of a year's absence and delivered well together, and his recent en- that are featured on the artist's which a phenomenal performance was up -dated with a '70s to gagement there was no excep- most recent album, SRO crowd. "Tim sophistication. Their act is a slick tion. Whether you call it jazz or Weisberg 4." and polished one, completely Maria Muldaur's (Reprise) raw, pop, Weisberg's music is an in- Claire Hamill tended to and tied together from powerful vocals and soulful novative melding of musical ele- Opener Claire Hamill (Konk) the mode of dress to the material phrasing were as intriguing as ments, and the only adjective employed a sexy stage approach chosen to the tasteful choreogra- her stage presence, in which she that need be employed is and forceful vocals in deliver- phy and nimble vocal interplay. writhed around the stage, inter- "good." ing her extremely diversified At times they were vocally acting with the rest of the band. Stage Dynamics material. Ranging widely from reminiscent of both Lambert, Vocally, her strength lies in blues The most striking facet of the such songs as the Animals' Hendricks and Ross and the and jazz, but she is good on all Weisberg group's performance classic "We Gotta Get Out Of Pointer Sisters, but the most ap- variations of material. She did a is a near -miraculous control of This Place" to ragtimey songs of parent distinction seems to be rousing version of Fats Waller's stage dynamics. With a driving her own composition (most the variety of styles "Squeeze Me," and also offered offered and rhythm section setting the pace, notably, "Stage Door Johnnies," the limitless possibilities of mix- a dynamic treatment of Duke El- Weisberg's flute spun a web -like the title cut from her recent Ip) ing two male lington's "Prelude to a Kiss." and two female series of melody lines comple- Ms. Hamill proved to The most impressive number be an im- mented by Lynn Blessing's vir- pressive newcomer to the Ameri- of the set, by far, was an unbe- Signs tuoso fingering of a keyboard can pop scene. Her set closed in Atlantic Jackson lievable version of "Feel Like set-up so multi -tiered as to re- a blaze of glory, with a Breakin' Up Somebody's Home," straight- semble a wedding cake. Bles- faced swing arrangement of the in which she belted out the bal- sing's restraint and delicacy, a standard "Sit Right Down and lad of a low-down woman taking perfect foil for Weisberg's intri- Write Myself A Letter." her man away in a style that cate voicings, was perhaps the Eliot Sekuler sounded as black as black could be. Her all-star line up included Amos Garrett on guitar, the Cru- sader's Arthur Adams also on guitar, and Earl Palmer on drums. l The band, needless to say, was Henry Allen, Atlantic/Atco senior vice incredibly tight, and rendered a president for r&b product, recently an- U(/aEch Out ectdy Sired nounced the signing of instrumentalist solo for "Put It Where You Want Willis Jackson to the label. Jackson, who It" that had the audience dancing was born and raised in Miami, Florida, in their seats. was originally with Atlantic back in the 2Joirc9 oLuCluby. Ms. Muldaur's fifties when he played tenor sax with his musical matur- former wife, Ruth Brown. He is currently ity has developed astronomically, at work on a new Atlantic album, which and she seems to have obtained is slated for release in the near future. On gougham i"Cecord2 the discipline that makes her a Pictured from left: Henry Allen; Willis Jackson; and Alan Lott, Atlantic/Atco na- truly dynamic performer. tional album promotion director. Karen Fleeman

RECORD WORLD JANUARY 4, 197c 15

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