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

Jewel to perform at the ASC Oct. 30

Jewel Kilcher — simply  “Jewel” to her fans — is as close to living the American dream as anyone can. When I look at this beautiful woman, it’s easy to forget that she was once homeless and performing on the streets for spare change.  Boy, what a difference success makes! Although best known for her music, Jewel has also done some acting, appearing in Ang Lee’s Ride With the Devil, and TV’s 7th Heaven, and has even published a book of poetry called A Night Without Armor. She’s a real renaissance woman for sure.

Even within her music she has explored many different and surprising styles, from her early albums of folk and country, to more mainstream experimentation with pop, dance, and urban.  As a dj, I have even “spun” a few of Jewel’s remixed hits for a dance floor. I think what I admire about her as an artist is that she’s not afraid to take chances, and even when she raised eyebrows with the racy video for her song “Intuition”  (from the 0304 album) she proved she has a sense of humor.

Jewel’s show at the ASC on October 30 will be an entirely  solo acoustic set (her first in 12 years!), so she will be returning to her roots and connecting with the audience as only she can.

What happens if you make your concerto debut at age eight and you are mentored by one of the greatest modern-day pianists? With luck you might become, like Gabriela Montero, a classical pianist who dares to improvise.

Quote:

SAN FRANCISCO — When Gabriela Montero comes to Davies Hall this week, she’ll do something classical pianists are taught never to do: improvise.

Gabriela Montero

So Bruce Hornsby is very busy these days with a new recording, a Broadway show and a Robin Williams film cameo. The show is called “SCKBSTD” and on the producer’s blog I discovered that Hornsby and Nanci Griffith have someone in common. It’s producer and Hornsby manager John Scher, who won the 2009 Tony Award Best Special Theatrical Event for Liza’s at the Palace…. and produced Nanci Griffith on Broadway, two of my favorites.

The MercuryNews.com said, “Kurt Elling channels Johnny Hartman.” Now we real jazz singer fans know this is a huge statement. Although Johnny Hartman waxed and waned in the mid 1960’s and Kurt Elling (born in 1967) is well into the second decade of his jazz career, with nine recordings to his credit, it is quite a comparison, and well deserved. Enjoy.