Robert and Rory, co-owners of the Rrazz Room, are paying homage to the women who helped shape popular music in the 1960s and break open the barriers in a largely all-male music industry. Melba Moore, Chris Clark, Darlene Love, and Petula Clark have appeared recently and the audiences lap up another chance to hear musical memories from a more innocent, wistful age. Martha Reeves carved a very large niche for herself with a string of megahits that identify the era and she carries those golden oldies in the large repertoire bag that comprises a Martha Reeves show.

She had the audience up and dancing on many of those popular hits as well as singing background vocals. Motown performers were groomed extensively and put out on the road on endless grueling tour schedules where they learned the art of entertaining. Reeves has honed her craft and displays it all during her 90-minute set. She's funny, gracious, sassy and spontaneous. "Nowhere to Run," "Dancing in the Street," "Heat Wave" and "Jimmy Mack" may what people come to hear, but for this critic, it was the rest of Martha's material that made the evening so satisfying.

With her gospel beginnings, Reeves easily translated her vocals to R&B, soul and blues. The Motown sound was a natural for her abilities and today she sings with a raspy, husky alto. The b-side Holland-Dozier-Holland ballads "Love Makes Me Do Foolish Things" and "A Love Like Yours (Don't Come Knocking Everyday)" become timeless treasures with Reeve's assured delivery. Pulling from an combination of styles, Reeves sang a smartly arranged pop medley of "Call Me"/"The Look of Love"/"Boy from Ipanema," banged out "I'm Ready for Love," then stopped the show with the soul standard "My Baby Loves Me." She also adds to the distinguished list of great jazz performers who've sang Duke Ellington's haunting ""Mood Indigo."

Martha Reeves has had a storied career full of highs and lows, great successes to overlooked potential—but she's still here. At 67, this Rock and Roll Hall of Fame inductee shows little signs of slowing down. She doesn't take her success for granted, is still creating original material (she penned eight out of ten tunes for her self-produced 2004 CD Home to You), and knows how to put on a grand show.

Steve Murray
Cabaret Scenes
April 14, 2009
www.cabaretscenes.org