By Mel Cooke, Freelance WriterWESTERN BUREAU:
SHE CROONED that she is glad she is a girl and Ian Andrews called her 'Aunty Pat'. MC Michael Anthony Cuffe misplaced her birthplace in London; the Scottish lass corrected with a twinkle and a burr, then proceeded to 'ride di riddim' deejay style in welcoming one and all to Redbones the Blues Café.
Pat Gooden was as 'Classically Cultural' as Thursday night's show at the cosy New Kingston spot was named. She mixed classics like Ave Maria with rocking Jamaican favourites such as Rucumbine to hit the spot with the very appreciative audience. She was also bang on target with the primary reason for the presentation, as her involvement with the Maxfield Park Children's home coincided with the major beneficiary of the function, the Best Care Foundation, which provides a home and care for mentally-retarded children.
It was a case of a superb evening in support of an unquestionably essential cause, as other guest artistes Ian Andrews, Faith D'Aguilar, Sebastian and DeMario McDowell, put on such wonderful performances, mashing up the place', that Cuffe was moved to comment that 'some of our best talent is not seen on-stage much'.
FOUNDATION
They were all termed guests, as the four-man band of keyboard player Ozoume, who marshalled the musicians, guitarist Gerd Beyers, drummer Clifton 'Double 07' Bond and bass player Dale Brown, who Faith D'Aguilar provoked to laughter, were the foundation of the evening.
They actually started out the evening, under the stars at the open-air venue, with an extended instrumental set. Beyers and Ozoume had solo turns during the 'earlies', which earned the applause of the good-sized audience, and they also established the tone of the evening with a rocking reggae touch to an otherwise rather urbane That Girl.
Ozoume also displayed a rather decent voice on the Sam Cooke double of You Send Me and Sentimental Reasons.
A smiling Pat Gooden was the first guest up and, as promised, delivered from 'Bach to boogie'. She ended her set with If We Hold On, encouraging the members of the audience to hold hands and wave, which they did.
Sebastian was smoother than silk as he opened with Volare and continued with You Go To My Head, accompanied by guitar and piano only. The Look of Love and London By Night preceded Night and Day, done in tandem with Pat Gooden.
UNHINGED
Ian Andrews sent the ladies unhinged with Unchained Melody, hitting the famous notes on 'still mine' with accuracy and attitude. He jumped dramatically off the stage to hit the ground and 'lonely' simultaneously, to get closer to the ladies and there was thunderous applause when he was through.
"Wow, wow, I was not expecting this," he said.
The audience was not expecting what he had in store either, as after a delicious duet with his 'Aunty Pat', Ian Andrews went reggae with God Is Standing By, running and leaping on-stage to wrap up dramatically flat on is back.
Nor was he expecting Cuffe to ask him for a few impersonations, but his Eddie and P.J. sent laughter howling to the night sky.
Faith D'Aguilar's little girl impression had even composed composer Ozuome collapsing in gales of laughter over his keyboard and her 'Miss Lou' sounded like the lady was live from Canada and Emancipation Park.
DELIVERED
Mixed with great singing, she delivered Smile/When You Are Smiling, I Don't Care and Happiness to put a smile on the face and pep in the step.
DeMario McDowell, who also does work with the street children, along with Howard Hamilton, dressed suavely, sang suavely, moved suavely and interacted with the audience- suavely. 'Mr. Cool and Smooth' opened with What You Won't Do, moving on to a 'modern jazz song that you haven't heard in 10 years'.
It may have been since the JLP had a realistic shot at winning a general election that they had not heard Roof Garden, but the reaction demanded a 'wheel up', which was promptly supplied.
McDowell did Wonderful World the suave and then the Satchmo way, whipping out his hanky and involving a member of the audience on the last growling 'Oh yeah'.
The audience really got involved in his last number, Many Rivers To Cross, for which McDowell took a seat - suavely - and utilised a songsheet.
In the end, however, it was the audience which really wrapped up 'Classically Cultural', as an all cast jam ended with One Love and a standing, dancing, singing, audience burbled and bobbed along happily close to the midnight hour.
