Rio has a tiger by the tail with Turner

Friday, June 1, 2001 | 8:38 a.m.

Putting an entertainer with as much talent as Earl Turner into a room that only seats 180 people is like trying to put a gallon of water into a 12-ounce glass.

While the RioBamba Cabaret at the Rio is a nice enough venue for your average entertainer, it isn't large enough for a man such as Turner, who has been paying his dues in Las Vegas lounges for the past 12 years.

Almost two years ago the Rio hired Turner and his eight-piece band to perform for free in the RioBamba, which was then an open lounge. You couldn't get a seat in the place. It was standing-room only for three shows a night.

In April the lounge was curtained off from the casino and converted into a small showroom that charged admission.

The question at the time was whether people would pay $21.95 to see whom they had been seeing for free for so long.

Five weeks have passed and the question has been answered: You still can't get a seat in the place for most shows.

One evening earlier this week found Turner putting on his typical performance -- if you can call anything he does typical. He and his band (many of the members have been with him 10 to 15 years) vary their numbers and routines enough so that you never see the same show twice.

Turner works the room like an evangelist. His sermon is about the sin of not having a good time when he's onstage -- or off.

"Good evening, everyone," Turner said. "Welcome to the show. How many of you are here tonight to have a good time?"

The room exploded with applause.

"Welcome to Earl's house," he said. "Consider this my living room.

"We are here for one reason, and that's to enjoy ourselves, and we're going to do our best to make sure you do ... if you get the urge to clap your hands, clap your hands, if you get the urge to sing, sing."

Before his greetings Turner already had the audience in the palm of his hand with his opening number, "Just the Two of Us."

While singing he leaped off the small platform between the bar and the stage and waded into the crowd, shaking hands, hugging, kissing, winking, drawing everyone into the show, making them part of the action.

He was having fun. His audience was having fun.

Throughout the performance he maintained eye contact with his fans, letting them know that he knows they were there and that each person was important to him.

He sang "You're the Answer to All My Dreams," and had the audience clapping as he launched into "Ain't No Stopping Us Now."

Turner has a diverse repertoire of songs. While some try to brand him as rhythm and blues, that's only part of it. He is equally at home with pop standards, country, jazz and even religious tunes and skat.

"I come from a very small town in Missouri," he told his audience. "When you think small, think Mayberry.

"My father only liked three kinds of music -- gospel, country and western. Now you know why I'm so confused today."

Turner is equally at ease singing a Frank Sinatra tune such as "Chicago" or one that belonged to Otis Redding, "Sitting on the Dock of the Bay."

And he has moves like Michael Jackson and James Brown.

While Turner's voice is memorable, he is just as well known for his energy.

He rarely stayed on the raised platform that serves as his personal stage (his band is on the actual stage behind him). More often he stepped down from the platform onto the 30-foot bar, where he traveled from one end to the other, moonwalking, skipping on one foot similar to Chuck Berry -- and high kicking like Chuck Norris.

Turner is a tiger in a cage. A small cage.

His final number was "Impossible Dream (the Quest)," from the musical "Man of La Mancha."

Turner's quest should be for a bigger room. That is not an impossible dream for a man of his talent.