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Ray Charies . . . plays to a small but appreciative crowd.
Photo by M. BiSlingstay
Charles plays to spars audience
By Casey McCabe
His easy listening capabilities make Anne Murray and
Eddie Rabbit appear diluted by comparison. He sings gos
pel with a fervor that would put the Oak Ridge Boys to
shame, and country artists from Conway Twitty to Willie
Nelson cannot deny his influence in their field.
(SofflMift AGUES
Most importantly, Ray Charles added the element of
jazz and soul otherwise missing from this year's State Fair
entertainment.
So it might be expected that the legendary Charles
would draw a crowd far and above that of his State Fair
predecessors. But that's not the way it seems to work,
though his performance did draw genuine appreciation
from the sparse Saturday night crowd of 1,605 at the Bob
Devaney Sports Center.
Leading off were the comfortable jazz sounds of the
17-piece Ray Charles Orchestra. The generally unampli
fied nature of their music made for a pleasant diversion, as
the big band sound boomed through the hall or hushed to
pin-drop levels at the sweep of the conductor's hand.
"As the com turns yellow, soul comes to Nebraska
was the introduction as Charles was led onstage amidst
dedicated cheers and applause from the small numbers in
attendance. He was quick to establish rapport with the
crowd, though the opening numbers were marred by poor
volume levels on the piano, and some distraction within
the band that kept Charles from bringing his classic hit
"Georgia" to a suitable climax.
THE SHOW really started rolling when Charles inserted
his own funky jazz style into "Oh, What a Beautiful Morn
ing." He further explored the range of his repertoire with the
bluesy "How Long Has This Been Going On?" and an up
tempo soul version of "Some Enchanted Evening.
In order to help the old man finish the show, Charles
then introduced The Raelettes, his four female back-up
singers who were a tight, pleasing addition to the show.
Especially nice was Charles rendition of MI Cant Stop
Loving You,' his massive 1962 hit that brought him fame
in country and western circles.
HIS REMAKE of Johnny Nash's "I Can See deary
Now" moved with less reggae and more gospel and jazz,
while he broke up the song with spoken asides to the
crowd. The show ended with hand-clapping music and an
amusing audience sing-a4ong.
Ray Charles never let the crowd down as he kept up an
enthusiastic pace for the entire show. Hie crowd (the
smallest one for this year's fair, rewarded him as best
they could as their applause filled the many empty spaces
of the Sports Center. Hopefully, the disappointing ticket
response for Charles will not keep the State Fair from
booking equally influential artists in the future.
Circus performers
a close-knit family
By Mary Kay Waymah
Many people have dreamed at least once of running
away to join a circus.
Circus stars performing last weekend at the State Fair
International Circus say they could not think of any other
life.
"Where else could you work for four minutes and get
paid for it?" one asked, slightly tongue-in-cheek.
Far from being a group of runaway recruits, most cir
cus performers are tightly knit families:
"It's an art form that's been on the decline. Fewer and
fewer people are getting into it," said James Plunkett, of
the Bounding Plunkett trampoline act.
Plunkett, also billed as Christopher James for his slack
-wire act, is part of a family whose roots,however mobile,
touch down in Nebraska. Plunkett's father was born in
Dickens, Nebr., and his brother in O'Neill.
Another family, the Flying Gaona's are from Mexico.
David, 10, and Julio, 1 1, are highlighted in the flying tra
peze act.
Pedro Gaona said circus work is the most normal thing
in the world for him.
"From my great-grandparents down, all were in the
circus," he said. "Before I was born I was around the cir
cus so I'm part of it and it's part of me."
HENRY CASTRO and his brother, George, from
Colombia, walk the high wire. The half-inch wide wire
strung 45 feet from the ground often is considered the
most dangerous circus act since they work with no net.
The Castro Brothers leap-frog and dance on the wire.
At one point George climbs on Henry's shoulders and
they balance, with only one foot on the wire for support.
"I don't think about being afraid. I enjoy it," Henry
said. He said the high-wire act he has performed for IS
years with no falls simply is "working."
Gaono spoke of his trapeze work with less simplicity
and some reverence.
something mat not many on earth can do," he said.
GAONO SAID HIS hands sweat when he watches
others perform on the trapeze.
"I see it from here and say 'What the hell am I doing
up there,'" he said.
But once he climbs the rope ladder and takes hold of
the flybar he loves, he said he is a "fish in water up
there."
Plunkett plays the clown in his difficult slack-wire act.
Seemingly drunk, he takes to the wire with ease, drawing
enthusiastic applause from the crowd.
He said he has been trampolining since he was "knee
high to a duck" and working with the wire for ten years.
Red-headed stranger gives usual great performance
By Barb Richardson
"A red-headed stranger from Blue Rock,
Montana rode into town one day," and
sang his songs of life to about 7,600 people
at the Bob Devaney Sports Complex
Friday.
Willie Nelson, wearing canvas tennis
shoes, blue jeans, T-shirt and his famous
red bandana was deservedly welcomed to
Nebraska's State Fair with hoot and hol
lers of appreciation from the audience.
His tradition of giving a good perform
ance was not cast aside Friday night.
The format of Willie's show was basical
ly the same -with the addition of a few
new numbers from One For the Road,
which he recorded with Leon Russell-as
the last time he appeared in Lincoln In
October 1978.
But Willie himself has aged consider
ably. His once red beard was gray as it
was last October, but Ids red hair, nearly
always in a pony tail, seems to have given
' way to more gray hair. For a man of 46,
Willie face of time lines ages him 15 more
years.' J . . . "... '
- Whenever and wherever Willie performs,
a diverse crowd Is likely to attend. Friday
rJ-ht was no exception. 01 J, ycur 2, execu
tes, students, pecpls fci suits, blue jeans,
wearing cowboy hats and leather jackets
gathered for one reason-to hear Willie
play.
WILLIE RAN through "Whiskey
River," "Ain't it Funny How Time Slips
Away" and "Nightlife" at the beginning of
the show without letting his quality perfor-.
mance drop.
Willie's harmonica player, Mickey
Rapheo, should be credited for jazzing up
a few numbers including If You Got the
Money, I Got the time.
Willie seemed to overcome the distract
ing rotating stage in all of his numbers. He
played to all the audience all of the tune.
ALMOST EVERYONE'S favorite Nel
son song was performed in the hour-and-a-half
he was on stage, including "Blue
Skies,- -All of Me, -The Time of the
Preacher, $weet Memories and Mama
Dont Let Your Babies Grow up to Be
Cowboys. Even Jimmy Carter's favorite,
"Georgia, was part of Friday night's
show.
Willie made sure to include his. 1975
Grammy Award winner, ?B!ue Eyes Crying
in the Rain, which no one can sing quite
like Willie. "Blue eyes got twice the round
of applause that his other numbers did-a
definite crowd pleaser.
Keeping with tradition, Willie includedi
-Amazing Grace and "Win The Circle Be"
toward the end of his performance.
After the conceit, Willie continued to
please his audience by signing autographs
and taking pictures with fans backstage a
man who no doubt enjoys what he is
doing.
WILLIE SAID in an interview after the guitar hangs from his neck by a red , white
concert that he has been playing and sing- and blue guitar Strap which is almost as
ing all his life. Friday night he played a old as the guitar,
guitat mat he has used for IS years. The Continued cn page 9
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