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Photo Courtesy of the Rrazz Room

If only the world were as perfect as Russell Thompkins, Jr.’s glorious vocals!

Recently, I had the pleasure of speaking with the R&B legend, who propelled the original Stylistics to stardom in the 1970s with gold and platinum recordings such as “You Make Me Feel Brand New,” “Stop, Look, Listen (To Your Heart),” “People Make the World Go Round,” "You Are Everything, ”Break Up to Make Up,” “Hurry Up this Way Again” and their signature song, “Betcha By Golly Wow,” via telephone from his Philadelphia home.

Russell Thompkins, Jr. and the New Stylistics headline through Sunday, April 1 at the Rrazz Room in San Francisco as part of the Sounds of Soul Music Series, presented by KBLX and Shelly Tatum.

Thompkins, who was musically nurtured by jazz greats Billy Eckstine and Dinah Washington and came of age during the Motown era, has influenced a generation of vocalists including Phyllis Hyman, reggae harmony trio, the Mighty Diamonds, who had their first hit with their version of the Stylistics’ “Country Living,” and Alicia Keys, who performed with Thompkins five years ago at Clive Davis’ Pre-Grammy Party at the Beverly Hilton Hotel. (See video clip (http://www.youtube.com/watch?v=EbPXUfE-gyQ)

Thompkins’ departure from the original members of the Stylistics, who formed in 1968, is a sensitive and complex subject that would take more than a blog to get into.

In 2004, Thompkins formed the New Stylistics, which includes vocalists Raymond Johnson and Jonathan Buckson, with musical director Kenneth R. Thompson.

Thompkins is gearing up for the release of his second solo album this summer, which will include a rare cover of “Sunny Weather Lover,” (see video http://www.facebook.com/#!/pages/The-Official-Dionne-Warwick/164873656950146 ) one of his favorite Dionne Warwick songs, as well as some of his favorite songs from the sixties and seventies penned by Thom Bell, Burt Bacharach and others.

Here are few interesting facts about Russell Thompkins, Jr:

• Thompkins loves singing at intimate venues like the Rrazz Room. One of his fondest memories of performing in the Bay Area is singing karaoke with his friends and fans at a local bar after headlining with the Stylistics at Kimball’s East in Emeryville, Ca.

• As a purveyor of classic love songs, Thompkins puts his words into action; he and his wife have been married for 43 years.

• His beloved mother, Julia Thompkins, passed away last week at 81, and yet, Thompkins continues to tour and perform. On losing his mother, he said he’d never thought he would feel pain like this.

Shelah Moody: Going back in time, what was going on musically when you were growing up in Philadelphia and who inspired you?

Russell Thompkins, Jr.: In my home, my father listened to jazz. I grew up listening to all the greats— Billy Eckstine Joe Williams, Dinah Washington, Ella Fitzgerald, you name it. My father was teaching me at the time to sing from listening to that music. When I became a teenager, Motown entered my life, and I head Eddie Kendricks from the Temptations. I wanted to be Eddie Kendricks. He changed my life. I think that’s what started me singing the falsetto more so than my natural voice. We had great tenors here in Philadelphia that I was listening to—William Hart of the Delfonics, Ron Tyson of the Ethics, who is with the Temptations now. I listened to a lot of harmony groups. I guess my all time favorite as a teenager was Dionne Warwick; I love Dionne Warwick! When I used to listen to other people sing, I was usually listening to the technique in how they sang, how high they sang and how they put a phrase together. When I listened to Dionne, I was feeling what she was singing and what she was saying. I’ve done a Burt Bacharach song and a Dionne Warwick song on almost every album I’ve ever done. I had a gold record with Tommy Bell on “You’ll Never Get to Heaven.” I’ll always do a Dionne Warwick song on my album, I don’t care.

SM: The late Linda Creed, who died of breast cancer at 36, wrote so many of your hits, “Stop, Look, Listen,” “People Make the World Go Round” and Betcha by Golly Wow.” Can you speak on her impact on the music world as a songwriter and share some of your personal memories?

RTJ: When I first met Linda Creed, it was long before we worked together as songwriter and singer. We did a cabaret together in west Philadelphia. I was about 16 or 17. This girl came in and she was beautiful! She was supposed to be singing on the same show and her manager introduced us to her. It must have been another four or five years later when the record company told me to go downtown to a certain floor in this building and meet this guy named Tommy Bell. Tommy Bell sat me down and we started playing and he was teaching me some of the songs that he had written for me on the piano and this lady burst through the door. Tommy was listening and singing and Linda was saying ‘no no, no, go back, I want you to change this part and that part.’ She was a writing machine! Another thing I remember is that she had her own office, and when you would go into her office, it was like a kindergarten, because she had all her kids there when she was writing—kids on the floor and running all over the place.

SM: What was it like singing “People Make the World Go Round” with Alicia Keys?

RTJ: That was a very fortunate thing. She’s fantastic, too. I had never met her before. I remember hearing her songs and I’m thinking that she was another singer who’d had success with some songs. But she’s more than that! When I came in, she was sitting at the piano and she was teaching everybody their parts; she was leading the band. She was singing off on the grand piano then playing the electric piano. She really blew my mind. We were getting ready to do “Betcha by Golly Wow” or “People Make the World Go Round.” On electric piano, you can shift the keys; you can change the keys and still play it in the same position that you would play in the key of C. She sat down and stopped playing and said ‘wait a minute, something’s wrong.’ That just showed me her ear. She knew that it was just off, that it was not the right one when we started singing. She’s very, very good!

SM: So, we’ve lost two legends this year who have perhaps also been influential in your life—Don Cornelius and Whitney Houston. Can you comment on their legacies?

RTJ: I didn’t know Whitney Houston personally; I’ve never met her, but she was an incredible singer--one of the greatest I’ve ever heard in my life. And Don Cornelius, I had a chance to work with him in Chicago when “Soul Train” was a local program. When I put my first record out, “You’re a Big Girl Now,” we used to work Chicago a whole lot, so I had a chance to do the local “Soul Train” with Don Cornelius. Another reason why I remember it so well was because David Ruffin was on the show also, and I’m a Temptations man. I did not know that (Don Cornelius) had the problems he had. It was a complete shock.

SM: Ok, let’s get it straight, in terms of vocals, are you a tenor or a falsetto?

RTJ: I’m both. I’m a combination of a natural tenor and a falsetto. I hook them both together.

SM: Your voice is just as pure and strong as it was when you first started. Do you do anything special to preserve your voice?

RTJ: Everything is but a blessing. Everything comes from God; there’s no special anything. Because I can see my voice from the time I first started, when I had that young kid’s voice. When I was in my twenties, I could feel maturity coming into my voice, but I’ve never had to change keys.

SM: You’ve told me before that “Betcha by Golly Wow” was your favorite Stylistics song. Is this still true?

RTJ: Still true. It’s everything I feel about love and what it should be. It’s funny, because my wife and I got together at the same time that I met Tommy Bell and all of the songs were speaking to the feeling that was going on inside of me. People tell the same story, that “Betcha by Golly Wow” was the one. I like it when anyone else sings it. My favorite version of it is Phyllis Hyman’s.( http://www.youtube.com/watch?v=LuimQ7DmeCE) I knew Phyllis. We’d see each other and talk about things. I was a big Phyllis fan before that, but after she did ‘Betcha by Golly Wow,’ it was like, Whew! I’ve been around people who’ve told me they like the way I do it, but Phyllis really did it! They thought I was gonna get angry, but I said no, I agree!

SM: I’m not a singer, but “Betcha by Golly Wow” sounds like a difficult song to sing.

RTJ: I don’t think so, because it can be sung in any voice in any style. Have you ever heard of Johnny Hartman? He did it in his low baritone and it sounds beautiful. ( )

Russell Thompkins, Jr. and the New Stylistics perform:

When: Wed. March 28-Sunday April 1.

Where: The Rrazz Room, 222 Mason St, San Francisco

Info: (800) 380-3095, www.therazzroom.com

Martin Luther Delivers an Intimate Evening of Soul

By Shelah Moody

Photos by Roger Allen, Carmelita Harris and Shelah Moody

Martin Luther Photo by Roger Allen

On Feb. 14, Valentine’s Day, San Francisco seemed as if it were painted red. Politicians such as Mayor Ed Lee and entertainment personalities, such as Renel Brooks-Moon (KISS-FM) gathered to pay tribute to Grammy winning vocalist Tony Bennett, 85, in celebration of the 50^th anniversary of a song he made famous, “I Left My Heart in San Francisco.” Newlyweds, after taking their vows on such a special day, proudly posed on City Hall’s majestic marble staircase.

Still, there was sadness in the air, in the wake of two shocking and tragic deaths in February of two beloved musical icons, Don Cornelius,75, creator of “Soul Train,” who shot himself in the head in Los Angeles on Feb. 1, and Grammy winning vocalist Whitney Houston, 48, found dead in her hotel suite in Beverly Hills, CA, Feb. 11.

Martin Luther and band members Ashling Cole and Rebecca Roudman

Indeed, we, as music lovers and art connoisseurs in the Bay Area, were all in need of a musical and spiritual healing and indie soul singer/songwriter Martin Luther delivered during Accompanied by singer Ashling Cole and cellist Rebecca Roudman, Martin Luther played his acoustic guitar, killing us softly with his songs of love, social justice and songs of freedom and change.

”An Intimate Evening with Soul Sensation Martin Luther” was presented by the Museum of the African Diaspora Vanguard, a young professionals' networking group in conjunction with the San Francisco Arts Commission’s ART IMPACT program and Creative Edge PR.

Martin Luther with MoAD Executive Director Grace Stanislaus

Martin Luther McCoy is a San Francisco native who grew up in the Ingleside neighborhood and currently resides the in Bayview. A disciple of the black church, Marvin Gaye and P-Funk, Martin Luther became known through his collaborations the Roots and Cody ChesnuTT and his live performance in Dave Chappelle’s documentary, “Block Party.”

Martin Luther kicked off his intimate evening of soul at the MoAD with an original song called “Home.”

Martin Luther told spoke of listening to radio stations such as KSOL and KDIA, which he feels, created a sense of community back in the day and of seeing the legendary Sly Stone roll through his neighborhood.

 Renel 

“It was a cultural gumbo and everybody had a certain feeling of ‘I can do it,’ or ‘I’m gonna express myself by the way I wear my hair or my style.’ I was one of those kids who used to be out there dancing, riding my bike and carrying my linoleum, you get it? This is an interesting opportunity to communicate about my songwriting. I am a songwriter and I love it. I appreciate the opportunity to share music anytime.”

Martin Luther’s has just released his latest collection of original songs such as “Extra Terrestrial Brother Vol 1” on his independent label, RebelSoul Records.

Next Martin Luther performed one his most ebullient ballads, “Rise,” (http://youtu.be/PAEQ6zcb4t0) from his album “Rebel Soul Music” which he explained is dedicated to the resurrection of a young black mind. “Rise” was written for his young nephews who were growing up in a black community.

“A lot of the songs that I write are love songs are love songs, albeit they may speak of sex and relationships, hurt, longing, pain, growth and development as a human being,” said Martin Luther. “There is a beautiful opportunity as an artist to express and create images and thoughts, to impart magic in someone’s mind. We can build castles just with words and chorus.”

“Don’t forget the spirit of the Phoenix—Rise…” Martin Luther sang his radiant tenor in perfect pitch.

Next, Martin Luther performed the up-tempo “Waiting for You,” which was inspired by President Barack Obama.

In 2007, Martin Luther played the Jimi Hendrix inspired character, Jo-Jo, in the 2007 Beatles musical “Across the Universe” which played silently on a big screen behind the singer as he performed. A highlight of the show was Martin Luther’s haunting rendition of George Harrison’s ballad “While My Guitar Gently Weeps,” which he performed in the film. This is one case where the cover is more stunning than the original.

“To the world you may be one person, but to that person, you may be the world.”

This was a phrase that Martin Luther’s cousin had as an outgoing message on his answering machine, which inspired Luther’s poignant song, “Superstar.”

“I’ve always had a desire for and a gift with melody,” said Martin Luther. “I would be in the church re-writing the songs that we would sing in choir rehearsals as far as the chordal arrangements and the structures of the rhythms, because it just came to me in a different way. All of that to say that the songs that I write and the reasons and meanings behind a lot of songs, I can directly attribute to my upbringing and to the way my mother handled me as far as discipline. I thank her for that because I believe it gave me a lot of the mastery of my craft.”

Incidentally, Martin Luther’s goal is to one day perform with the San Francisco Symphony.

For more information on Martin Luther, visit: www.martinluthermccoy.com.

For information on the Museum of the African Diaspora, visit: www.moadsf.org.

By Shelah Moody

On Feb. 11, the music industry experienced its biggest loss since the death of Michael Jackson in 2009. Soon, everyone will be able to tell you where they were when they got the news of the untimely death of Grammy winning music icon Whitney Houston, gone too soon at 48. Houston was found unresponsive in the bathtub of the Beverly Hilton hotel, hours before she was to attend the annual pre-Grammy party hosted by her mentor, Clive Davis. At press time, circumstances surrounding Houston’s death are still unraveling and will continue to be the topic of speculation and theory for years to come.

Perhaps the strangest remark came from O.G. Tony Bennett, who was clearly devastated by Houston’s death, at Clive Davis’ pre-Grammy gala:

"First it was Michael Jackson, then Amy Winehouse, now, the magnificent

Whitney Houston. I'd like every person in this room to campaign to legalize

drugs. Let's legalize drugs like they did in Amsterdam. No one's hiding or

sneaking around corners to get it. They go to a doctor to get it.”

Legalize drugs? Huh? Ok Daddy, we forgive you, because we know it was the grief talking.

Incidentally, Bennett won this year’s Grammy for Best Pop Duo/Group Performance for “Body and Soul,” a duet with Amy Winehouse, who died of complications from excessive alcohol use last year.

The bottom line is that Houston a multiple Grammy winner, who lived a beautiful, complex and regal life, will be remembered as the voice of the millennium; she set the platinum standard in terms of vocals, with her heart wrenching interpretations of songs such as “The Greatest Love of All,” “Saving All My Love for You,” “You Give Good Love,” “One Moment in Time,” and of course, Dolly Parton’s “I Will Always Love You,” from the “Bodyguard” movie soundtrack, which propelled her to superstardom as a singer and actress.

A generation of singers such as Alicia Keys, Christina Aguilera, Ledisi and Oscar and Grammy winner Jennifer Hudson, were influenced by Houston’s gospel trained soaring soprano, which was capable of soaring to unimaginable heights. If you couldn’t sing like Whitney, you just weren’t singing, period.

Prior to the news of Whitney Houston’s death, I had expected the 54th Annual Grammy Award Ceremony, telecast from the Staples Center in Los Angeles on Feb. 12, (Grammy Sunday), to belong to former Beatle Sir Paul McCartney, who received a Lifetime Achievement Award and was dubbed MusiCares Person of the Year.

But the three hour event turned out to be a tearful and joyous celebration of not only Houston, but the living and deceased Grammy winners and legends from all genres who changed the game, including Etta James, (blues) Don Cornelius, (soul) Winehouse (pop/soul), Glen Campbell (country) the Beach Boys (pop), Gil Scott Heron (protest) and Joe Arroyo (Latin).

The pall of Houston’s death was heavy in the air, as this year’s host, Grammy winning rapper turned actor LL Cool J, opened the show with a prayer for “our fallen sister.”

“We’ve had a death in our family,” said LL Cool J. “There are moments in the history of this show that we will remember for the rest of our lives. This night is about something truly universal and healing—music.”

Throughout the evening, Houston, who, like many music greats throughout history, struggled with drug addiction for years, was lovingly remembered by her peers including Grammy winners Bruno Mars, Stevie Wonder, Alicia Keys, Bonnie Raitt and the current president of the Recording Academy, Neil Portnow. Jennifer Hudson’s simple and stunning performance of “I Will Always Love You” is one that will go down in history.

THE WINNERS

As the Recording Academy stated in a special issue of “Billboard” magazine designed as a voter guide, the Grammy Awards come from a long line of established, professional voting members who evaluate, nominate and ultimately select winners among their peers each year. Voting members include musicians, songwriters, artists, producers, engineers, Djs, conductors, art directors and others who meet the Academy’s working professional criteria.

This being said, this year’s Grammy ceremony will perhaps go down as the year of the female artist, with British chanteuse Adele sweeping the Grammys with six awards including the big three: Song of the Year and Record of the Year, (“Rolling in the Deep”) and Album of the Year (“21”). During her tearful thank you speech, Adele, who had recently gone through throat surgery and received a standing ovation after her performance of “Rolling in the Deep” said the album was inspired by a “rubbish relationship.”

The U.K.’s Corrine Bailey Rae earned the Grammy for Best R&B Performance “Is This Love, a cover of Bob Marley’s classic.

This year’s female performers/nominees Katy Perry and Rihanna, also survivors of turbulent relationships, also delivered outstanding performances, Perry, delivering a rage inspired solo segment that contrasted with her achingly sweet performance of “Teenage Dream” at last year’s Grammys, and Rihanna in a duet with Chris Martin of Coldplay. Perry and Na-Na (winner for Best Rap/Sung Collaboration for “All Of The Lights” with Kanye West, Kid Cudi and Fergie) seemed to be besties as the camera caught them laughing together in the audience. I loved the hillbilly/Glee-style motif that Taylor Swift and her band, armed with banjos and fiddles, pulled off on her Grammy winning song “Mean” (Best Country Solo Performance and Best Country Song).

I must admit that I have a new respect for Nicki Minaj, the reigning queen of hip-hop, who pushed the envelope with her daring and schizophrenic relationship spoof “Roman Holiday.” It was indeed one of the most over the top and entertaining moments in Grammy history--with the petite star dancing and flirting with monks and the Pope and levitating,

Linda Blair style at the end. People are probably still tweeting about it, because as Madonna found out after making her “Live a Prayer” video, you just don’t f**k with the Vatican.

The upset of the night was indie/folk band Bon Iver winning the Grammy for Best New artist over wildly popular nominees such as Minaj and J Cole. It could be the greatest upset since jazz protégée Esperanza Spalding won over pop phenom Justin Bieber in 2011.

Another surprise of the was Chris Brown’s win for Best R&B album Chris F.A.M.E. Brown, who is still living in the shadow of his altercation with his former girlfriend, Rihanna, before the Grammys in 2009, thanked God, the Grammys and “Team Breezy” in his acceptance speech.

WHO WE DID NOT SEE ON CAMERA

The curious absence of hip-hop moguls and multiple Grammy winners Jay-Z and Kanye West spoke volumes, especially after winning the Grammy for Best Rap Performance for “Otis.” It would have been nice to see Stephen Marley accept his award for Best Reggae Album (Revelation Pt 1: The Root of Life) on stage, especially since Corrine Bailey Rae earned her Grammy this year for her cover of one of his father’s songs, a testament to the universal influence of reggae music.

This year, there was outrage at the Recording Academy over the elimination of certain Grammy categories, particularly Latin Jazz. The Grammys for Latin music are also presented off camera. Grammy-winning flautist Dave Valentin spoke on this during his stint with Angela Bofill at the Rrazz Room in San Francisco in January.

“I got nominated for the Latin Grammys and it’s a shame that the American Grammys will not recognize Latin musicians,” said Valentin. “I won in my American Grammy for “The Gathering” with Dave Samuels in 2002. I don’t understand why they do this to us. I think we should petition the Grammys and write letters to them. As far as the Latin Grammys are concerned, we don’t exist…I am a Puerto Rican from the Bronx and I do exist.”

For more information, go to www.grammy.com.