Pauline Ford-Caesar (pictured above with The Wailers) has posted a great review of last week’s show. Check it out here!

By SHERMIKA DUNNER

The Wailers are most famously known for their work with Bob Marley, which resulted in the sale of over 250 million albums worldwide.  The members include: Family Man Aston Barrett, bass; Keith “Coach E” Sterling, keyboards; Chico Chin, trumpet; Anthony Watson, drums; Chiz Roy, lead guitarist; Nambo Robinson, trombone; and Elan Atias, lead vocals.

However, they stand on their own with their incredulous talent and ability to effortlessly entertain audiences worldwide.  As a part of their Global Rhythm Series, the Alys Stephens Center welcomed the legendary Wailers in the Jemison Concert Hall, where the acoustics are nearly perfect.  The diverse crowd was hushed in anticipation as they awaited The Wailers’ entrance.

Hailing from Kingston, Jamaica, Chin asked Birmingham in his thick Jamaican accent if they were ready—and indeed they were.  The trombone opened with a deep Caribbean beat as the lead guitar lightly trailed in, while the drums and trumpet later followed.  The rhythms were carefree as the trumpet and trombone alternated solos, effortlessly moving from vibrancy to smooth reggae tunes as the keyboards and bass joined in.

A modest crowd later gathered to the front of the stage and grooved to the music.  A sea of hands flailed in the air as the audience sung along with sheer enthusiasm.  The music was very fun and uplifting.

The concert was a total jam fest, particularly when “Jamming,” “Exodus,” and “Get up Stand up” were performed.  Atias urged the crowd to get up, jump, and jam with him, which they excitedly did.  Atias delightfully bounced around the stage, hyping the audience as his voice filled the room.

Atias sung “Redemption Song” with such conviction while the audience swayed their heads and illuminated the concert hall with lighters and cell phones.  “Waiting in Vain” was concluded with a medley of Marvin Gaye’s “Let’s Get It On” and Tina Turner’s “What’s Love Got to do With It,” which made for a nice mixture with classic reggae.

The Wailers exemplified how beautiful music can be as it has the ability to connect people from all walks of life.  Throughout their two hour set, a vast majority of the audience were on their feet dancing, singing, and clapping their hands.  Everyone from senior citizens, business professionals, to young adults, and even a mother and her toddler were dancing.  During those two hours, the audience became entranced in the hypnotic grooves of The Wailers.

When The Wailers exited the stage after “One Love,” the crowd chanted “more…more!”  Atias returned to speak about their participation in the World Food Program (iwenthungry.org).  Not only are The Wailers gifted, but they care about the plight of others.  Later, they performed nine more songs—quite the encore indeed.

Atias performed “Together as One” and “I Wanna Yell” from his debut album Together as One, which seamlessly intertwined with Bob Marley and The Wailers’ catalogue.  The show concluded with the band and backup singers showcasing their exceptional talent—much to the riveting enthusiasm of the audience.

The Wailers performed: “Stir it Up,” “Survival,” “Is this Love,” “No More Trouble,” “War,” “Turn Your Lights Down Low,” “The Heathen,” “So Much Things to Say,” “Three Little Birds,” “One Love,” “No Woman No Cry,” and “Guiltiness.”

And for another great review of The Wailers’ magical ASC performance, check out this review at the Intercultural Post!

The extremely gifted Lizz Wright graced the Alys Stephens Center’s intimate Sirote Theatre on October 23, 2009 with her gorgeously smoky voice. Wearing a coral dress, a black shawl, and sandals–both of which she later discarded, Wright opened the night with “Old Man.” Her powerful and multifaceted contralto rode the song well, as one could hear a yearning in her voice that effortlessly fused folk and jazz. At one point, Wright stepped away from the microphone and became lost in the music as she danced and lightly tapped her chest–something she would do often that night. Wright’s music is an eclectic mixture of jazz, blues, gospel, rhythm and blues, soul, and folk; the way she intertwines the genres are astounding. Her gospel roots could be heard in “I Idolize You,” where the organ backed her soulful voice, and the guitar appeared to “talk” back as her voice floated over the song.

At times, Wright’s voice was emotive, delicately touching the inner chambers of one’s soul and not just their ears. She took the audience on a journey through love, deliverance, and life. Her exquisite vocal arrangements were electrifying, particularly when she sung “Hit the Ground,” a song her “daddy likes” as she put it.

Wright’s voice is lucidly beautiful, raw, and has the power to evoke passion. Her performance was moving, with her voice echoing a sweet tenacity. Wright stole the show with a traditional gospel song, “Walk With Me Lord,” that she blended with smooth jazz. Her voice was pleading and hopeful as the fluidity of the organ pierced the theatre. Mid-performance, Wright pulled off her earrings as she sung “hold my hand Lord,” and reached her hand out for emphasis.

Wright’s voice is pure in its simplicity and depth, a brilliance that can only be cultivated. She sung in different registers, artfully going from low to high. Her vocal arrangements were awesome as she plaintively yearned for love and affection, which were enough to resonate in one’s heart. Wright performed “Another Angel,” “My Heart,” “Stop,” “When I Fall,” “Blue Rose,” “Trouble,” “Coming Home,” “Easy Rider,” “Hey Mann,” “Salt,” and “Thank You.”

A big thanks to Shermika Dunner for reviewing the Lizz Wright show!

Not only is Gabriela Montero one of the most talented young pianists we’ve seen, she’s also known for her amazing improvisational skills. We just received her program for the upcoming October 10 performance and were delighted to see that the entire second half of the program is dedicated to audience suggestions! Fun, huh?

We hope you will come out to support this exciting artist!

G A B R I E L A M O N T E R O, piano

Saturday, October 10 Performance Program

Six Piano Pieces, Op. 118 JOHANNES BRAHMS
Intermezzo in A minor: Allegro non assai, ma molto appassionato (1833 – 1897)
Intermezzo in A Major: Andante teneramente
Ballade in G minor: Allegro energico
Intermezzo in F minor: Allegretto un poco agitato
Romanze in F Major: Andante
Intermezzo in E fl at Major: Andante – Largo e mesto
Sonata No. 1, Op. 22 ALBERTO GINASTERA
Allegro marcato (1916—1983)
Presto misterioso
Adagio molto appassionato
Ruvido ed ostinato

I N T E R M I S S I O N

Improvisations on themes or pieces suggested by audience members

FOLLOWS THE SEPTEMBER 15 VERVE RELEASE OF

BRUCE HORNSBY & THE NOISEMAKERS’

NEW ALBUM LEVITATE

“Levitate is a staggeringly great collection of songs by one of our most gifted songwriters and instrumentalists playing at the top of his game…it just doesn’t get much better.”

—American Songwriter

“Mr. Hornsby is a remarkable pianist…The America in his music is one of countless connections and intersections…that’s still wide open and welcoming.”—The New York Times

Adding yet another milestone to his accomplished career, Bruce Hornsby will perform during the inaugural week of NBC Primetime’s “The Jay Leno Show” on September 17 with his longstanding touring band The Noisemakers. Special guest Eric Clapton will join Hornsby to perform “Space is the Place,” from Hornsby’s much-anticipated new album, Levitate, set for release September 15 on Verve. The album version of the song features a guitar solo by Clapton. Levitate is Hornsby’s first studio album co-credited to The Noisemakers. Hornsby will embark on a tour in support of the album beginning September 12 in Hampton, VA. Please see below for details.

A 13-time Grammy nominee and three-time Grammy winner, Hornsby has solidified his status as a highly sought after collaborator. His own 10 albums have sold over 11 million copies worldwide and he has appeared on over 100 records including releases by Bob Dylan, Don Henley, the Grateful Dead, Bob Seger, Chaka Khan, Bonnie Raitt, Willie Nelson and more.

While Levitate evokes Hornsby’s distinctive musical approach, the album marks a creative departure for the artist. For the first time, Hornsby opted to record an album with no piano solos, choosing instead to emphasize the songwriting behind each track. “I’ve always been about finding a place to express my interest in playing the piano within the pop song context,” Hornsby says. “But with this record, I felt like I’d done that enough, so this time I really wanted the focus to be on the songs.”

Levitate contains 13 new songs, including “Cyclone,” with lyrics from Grateful Dead lyricist Robert Hunter.  The title cut, “Levitate”, is an alternate version of a song from the recent Spike Lee film Kobe Doin’ Work (for which Hornsby also provided the original score), and “Space is the Place” features an Eric Clapton guitar solo.  Produced by Tony Berg and Bruce Hornsby, Levitate features Hornsby on piano, dulcimer, keyboard and vocals; JV Collier on bass; Sonny Emory on drums; John “J.T.” Thomas on organs and keyboards; Bobby Read on reeds; and Doug Derryberry on guitars.

Bruce Hornsby first rose to national prominence with The Way It Is, his 1986 Grammy-winning debut album with The Range. The title track became the most-played song on American radio in 1987, winning ASCAP’s Song of the Year award. Hornsby also won Grammys in 1989 for “Best Bluegrass Recording” for his version of “The Valley Road,” which appeared on the Nitty Gritty Dirt Band’s Will The Circle Be Unbroken, Volume II and in 1993 for “Best Pop Instrumental Performance,” for his song with Branford Marsalis for the Barcelona Olympics, “Barcelona Mona.” Additionally, Hornsby was a part-time member of the Grateful Dead from September 1990 to March 1992, performing over 100 concerts in America and Europe. He and has performed the National Anthem for many major events including the NBA All-Star game, four NBA finals, and the World Series. Currently, Hornsby is working with director Kathleen Marshall on a prospective Broadway musical titled SCKBSTD, which incorporates several songs from Levitate. He also appears on screen in the new Robin Williams/Bobcat Goldthwait film World’s Greatest Dad. The film includes several Hornsby songs, including the Levitate track, “Invisible.”

BRUCE HORNSBY & THE NOISEMAKERS TOUR DATES

*Denotes solo piano performance

†featuring Ricky Skaggs with Kentucky Thunder

September 12                            Hampton Bay Days†                            Hampton, VA

September 26                                    Town Hall                                  New York, NY

September 27                    Berklee Performing Arts Center                      Boston, MA

September 29                                 The Music Hall                             Portsmouth, NH

October 1                                            The Egg                                         Albany, NY

October 2                                           The Klein                                   Bridgeport, CT

October 3                                         The National                                Richmond, VA

October 5                                 Strand Capitol Theater                                  York, PA

October 6                                     Mahaiwe Theater                   Great Barrington, MA

October 7                                        Flynn Theater                                Burlington, VT

October 9                                       Warner Theater                            Washington, DC

October 10                                   Trump Taj Mahal                          Atlantic City, NJ

October 11                     Carnegie Music Hall of Homestead                Pittsburgh, PA

October 30                              Motor City Casino Hotel                              Detroit, MI

November 13                           Jemison Concert Hall*                      Birmingham, AL

November 14                            Centre East Theatre*                                  Skokie, IL

November 15          McAninch Arts Center (College of DuPage)*         Glen Ellyn, IL

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Hailing From Birmingham, Alabama, the organic sound of Act Of Congress combines hook laden melodies, compelling songwriting, and intelligent acoustic instrumentation that’s rapidly gathering attention throughout the country. Having released their debut album “Declaration” (2008), Act Of Congress’ sound is grounded, approachable and technically masterful. In two short years, the band has been recognized by the likes of Paste Online, SXSW, Disney, and Billboard (chosen from over 2000 submissions to compete and ultimately win the 2008 Disc Makers IMWS Award.) AOC has also worked with Live Nation, opening VIP areas for artists such as John Mayer, Toby Keith, Alan Jackson, and Brooks and Dunn.

With lush harmony, articulate instrumentation and a live show that will leave you speechless, Act of Congress’ musical vistas sweep from the ground breaking sounds of Nickel Creek, Mute Math, and John Mayer to the weaving soundscapes one might find sprinkled throughout Matthew Perryman Jones or Radiohead. Timeless compositions of masterful lyrics and musicianship abound throughout each song, combining vintage acoustic instrumentation with sweeping layers of varied musical roots to create a truly magical experience.

Chris Griffin (guitar/dobro) and Adam Wright (mandolin/guitar), became friends in college. Wright, a pianist turned guitar player turned mandolin player, says ” After being exposed to progressive bluegrass music, Chris and I both became very interested in modulating our singer songwriter/rock knowledge to acoustic instruments. That style evolved from a casual jam to one that requires an extraordinary high level of musicianship,” Says Wright, “The playing is very demanding. This is not a style of music where you can not play for a month then get up and do a show again. We work really hard on keeping the songs up to par. Vocally, it’s equally demanding as well. But in the end, there’s nothing else we’d rather be doing.”

In late “2006, Tim Carroll (upright bass) was hired to perform with Chris on several tracks for Ferret Recording Artist Maylene and the Sons Of Disaster”s II album. A friendship and respect developed between the three, and the notion to create a new progressive acoustic band originated. Almost a year later, Bethany Borg, fiddle champion in ten states, relocated from a two year stint performing in Branson Missouri, and after hearing her play at an afternoon rehearsal, the quartet solidified.

From industry professionals to casual music fans, everyone can relate to the group’s sound. Their debut album titled “DECLARATION” produced by Jason Elgin, (Collective Soul, Maylene and the Sons of Disaster, Lynam) and mastered by Roger Lian (White Stripes, Deftones, Staind) recently Sold Out it’s release concert at Workplay, “One of PASTE magazine’s 40 best venues in America.”

Listen now with the ASC Music Player.  See them live at inter-ART-ive at the ASC on Thursday, September 17.
 
 
 
 

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