Former Ladies of The Supremes
A Nostalgic Concert at Marin Jazz
By: Victor Cordell - Dec 21, 2024
The three ladies appeared on stage to audience glee with brown long coats (my wife and editor says black - who do you trust?) of layered shag. Removing them revealed salmon-colored gowns (my wife says pink - she may be right on this one), inhabited by attractive, fit-looking, mature women crowned by the traditional big wigs of The Supremes. From the opening strains of “You Keep Me Hangin’ On,” nostalgia was on, with perhaps a little extra interpretation of the song title for the occasion. Capping the first season of Marin Jazz was a night of sweet sounds and remembrance from the Former Ladies of The Supremes.
For those like me old enough to remember, 1964 was a pivotal year in popular music. The Beetles’ first American visit marked rock and roll’s British Invasion; Bob Dylan stormed on the scene with a new brand of folk music; and The Supremes emerged from Motown in record-breaking (pun intended) fashion with five straight number one hits from the pens of the prolific composing team of Holland, Dozier, and Holland.
While a couple of young, female singing groups had single hits in the late ‘50s, the Shirelles established the girl group category as a musical force starting in 1959. The Supremes would inherit that mantle and take it to new heights. The number one songs that quickly established The Supremes as the queens of pop music were all on the Marin Jazz program – “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” and “Back in My Arms Again.”
Apart from well-crafted songs with a consistent style, another factor stamped the special sound of The Supremes. Before their national fame, the three original members shared the leads. Florence Ballard possessed the most powerful voice, followed by Mary Wilson. But Motown founder Barry Gordy sensed something special in Diana Ross’s high, airy, and fragile voice, and that would become the signature that would propel the group forward.
During their reign, The Supremes, always a trio, would have eight members, two of whom are on the Former Ladies of the Supremes. Chronologically, Lynda Laurence was Supreme number six, and Scherrie Payne was number seven. The third member of the Former Ladies, Joyce Vincent, is the Supreme who never was. Identified as the ninth in the succession, Motown decided that since there were no remaining original members in the lineup, that they would retire the name instead. Vincent did however have her own career in a formidable trio that had only three members throughout its existence - Tony Orlando and Dawn.
The Former Ladies regaled with over a dozen songs from The Supremes catalogue offering familiar sounding if not identical renditions of the recordings we know, backed by a five-piece band. At the ages of 80 (Payne), 78 (Vincent), and 75 (Laurence), none could be expected to retain the vocal brightness and high range of a Diana Ross in her prime or the strength and control of younger singers, so the arrangements were pitched accordingly.
But they engaged with the audience and Lynda Laurence in particular can still wail with energy and control, as she did in “Reflections” and elsewhere – perhaps because she is still so young. In my book, the most impressive numbers were “My World is Empty Without You” and “I Hear a Symphony,” both of which had typical Supremes treatments in which two backups sing repeat lyrics in countermelody in response to the main line carried by the lead. In addition, the ladies sang attractive versions of Tony Orlando and Dawn hits “Tie a Yellow Ribbon” and “Knock Three Times.” Unfortunately, the sound system didn’t do the ladies any favors, and particularly before intermission, the mix with the band was off and vocals sounded weak in places.
Another distinction of The Supremes that the Former Ladies carried out with grace was movement. Barry Gordy insisted that The Supremes avoid being sexually provocative. The Former Ladies replicated that notion with extremely elegant arm and hand motion, minimizing hip movement while adding flair to the performances. Occasional anecdotes about songs and relationships punctuated the evening, but even more would have been welcomed.
The final number was in honor of deceased original member of The Supremes, Mary Wilson. Fittingly, it was the recording that marked the dissolution of The Supremes, “Someday We’ll Be Together.” The full house showed its appreciation for the evening with a standing ovation.
Former Ladies of the Supremes, produced by Marin Jazz, appeared at Marin Center Showcase Theater, 10 Avenue of the Flags, San Rafael, CA on December 20, 2024.