Review By: Andrew Pressley

I arrived at the Alys Robinson Stevens Center out of breath, having borne the strain of running to get to the door early. I got my ticket for a show I have been waiting months for, and the enthusiasm sparked inside of me. I was about to witness one of the greatest bands of all time.

Noted for their infamous collaboration with Bob Marley, The Wailers make a noise wherever they perform. The past few weeks, Birmingham has been abuzz about their arrival. Now that they are finally here, the mood has changed none.

The thorough and kindly nature of the Alys Stephens Center staff started the night off right. The crowd poured in, and the scene instantly gained immaculacy, just a subtle example of the ability The Wailers had to reach people. This reach was also illustrated in The Wailers’ efforts to assist the World Food Programme in feeding needy children. They sold wristbands for $2 at the entrance, and from what I saw, quite a number were sold.

The stage was decorated in a Jamaican green-and-yellow aura, and the band’s equipment stood as a monument that the crowd eyed with conviction.

Their anticipation was building.

The “Regals of Reggae” entered with a bang, with Aston “Family Man” Barrett on bass, Keith Sterling on keyboards, Chino Chin on trumpet, Nambo Robinson on trombone, Al Anderson on lead guitar, Anthony Watson on drums, Brady Walters and Cegee Victory on backup vocals, and Elan Attias on lead vocals. It became clear very quickly that the numbers on everyone’s ticket would not matter. Assisted by Elan’s encouragement, nobody in the Jemison Concert Hall would be sitting down. Elan’s remarkable vocals, as well as the band’s classic following, sent a wave through the crowd, and it became impossible to even consider taking a seat, especially with Elan’s constant chants of, “Birmingham, Alabama, say yeah!”

The Wailers played their “Exodus” album, with hits such as “Exodus,” “Jammin’,” “Three Little Birds,” and of course, “One Love.” The crowd became more and more mesmerized as Elan’s Bob Marley-esque voice radiated through the room. The Wailers then left the stage, and an uproar of “Encore! Encore!” followed immediately. I was dancing like a madman in front, screaming alongside the crowd, and it was obvious by now that we were loving the show.

Naturally, The Wailers returned to the stage and played even more hits. Elan announced, “Hold up your fire, Birmingham!” as The Wailers began playing one of their finest songs, “No Woman, No Cry,” to the crowd’s obvious delight. “Redemption Song,” “Is This Love?” and “Stir it Up” followed, and the band ended on a high note, with Elan addressing each member of the band by name and with solo accompaniment, then The Wailers rounded out the show with “Get Up, Stand Up.” The room was filled with exhaustion from the rigorous dancing, but also with an air of peace, harmony, happiness, and togetherness, trademarks of The Wailers’, as well as Bob Marley’s, message. The night was spectacular, and the atmosphere was electric. It was truly my most cherished concert experience. The songs were perfect, the mood was uplifting, and the all the darkness that entered the room instantly became illuminated. Bob would have been proud.

What songs would you like Bruce Hornsby to perform Friday night? He wants to hear from his fans, so send us your song selections. Maybe he’ll play yours!

Four stars out of five

Article written by: PHILLIP RATLIFF

Hubbard Street 2, the training company of the famed Hubbard Street Dance based in Chicago, consists of six dancers whose ages range from 17 to 24. Most of the Hubbard Street 2 dancers performing in Sirote Theatre on Friday night appeared to be near the middle of that range, about 19 or 20.

They have yet to reach the peak of precision and physicality found in older dancers, but, thanks to amazing speed and dexterity, combined with effective lighting and music and absolutely brilliant choreography, Hubbard Street 2’s performance was terrifically satisfying.

The company opened with choreographer Christian Spuck’s “The Restless,” set to J.S. Bach’s Allegro movement from the second violin sonata and danced by all six members. As the title and the program notes suggest, “The Restless” translates Bach’s frenetic brisk style into a series of gestures and configurations that, like Baroque musical phrasing, spill into each other seamlessly and insistently. “The Restless” introduces several trademark Hubbard street several traits — attention to beautiful, fluid arm movement, a sculptor’s sense of the possibilities of height and depth, and a sensitivity to music.

On that last point, Christian Spuck, like many of the performance’s other choreographers, was hypersensitive to musical phrasing and micro-rhythm, that quicker underlying pulse that can make the tempo seem twice as fast, and a moment in time packed with twice as much movement. “First Light,” Alejandro Cerrudo’s choreographic interpretation of Philip Glass’ neo-Rococo solo piano suite, and “Diphthong,” Brian Enos’ setting of music by the Belgium-based band Zap Mama, each possessed this delightful sense of double time.

In the program notes, Enos says that Zap Mama’s quirky, techno-funk syncopations frame the visuals of “First Light.”

“It’s about the dancers getting swept away and moving through space,” Enos explains.

Dancers being swept away and moving — deftly and skillfully — through space could describe every one of Hubbard Street 2’s performances.

Source

We want to give our sincere congratulations to J. Austin Davis, who recently won a Smart Car as the Alys Stephens Center “GET SMART, SUPPORT THE ARTS” fundraiser! The smart® fortwo is the most fuel efficient, non-hybrid vehicle on sale in the United States, with a value of a little over $14,000! What a prize to win!

So congratulations again to Mr. Davis!

“Get smART, Support the Arts” was sponsored by Crown Automobile Co., RBC Bank, Mental Floss magazine, UAB, the ASC-JPs, Fox 6, smartwater and Commercial Printing.

A new album, a new label, a Broadway play and a cameo in a Robin Williams film are keeping multi-Grammy winning artist Bruce Hornsby busy for 2009.

“Levitate,” Hornsby’s 12-song set, is slated for a September 15 release via Verve and finds the multi-instrumentalist collaborating with his band the Noisemakers on their first recordings together since 2004’s “Halcyon Days.” Eric Clapton guests on the song “Space is the Place,” and Deadheads will relish in the song “Cyclone,” on which Hornsby worked with long-time Grateful Dead lyricist Robert Hunter.

Hornsby says the material on “Levitate” was actually born after he received an unexpected letter in 2005 from Playwrights Horizons, which was convinced that three tunes from “Halcyon Days” — “What The Hell Happened,” “Hooray For Tom,” and “Heir Gordon” — sounded like Broadway tunes. “They were writing the letter to try and commission me to write a play,” Hornsby tells Billboard.com. “So I said to them, “what the hell, I’ll give it a try, as long as its fun.” Hornsby has since been working on a musical called “SCKBSTD,” and he says that fully eight of the new album’s twelve songs are from the show.

While Hornsby’s song catalog has always run the gamut in terms of genres, he says, “I feel a freedom when I’m writing for the theater. A couple of the songs that I’m most proud of are ‘Paperboy’ and ‘Michael Raphael’ because they are dealing with harmony in a more adventurous, advanced way than on the standard pop song. This album is six guys in a room playing quasi-Broadway music.”

Over the last several years, Hornsby has been quite active in other recording realms, trying his hand at bluegrass and jazz. He released a self-titled collaboration with Ricky Skaggs in 2007 as well as “Camp Meeting,” a trio record with Christian McBride and Jack DeJohnette. “I felt like with those I finally dealt on a more intense level with making a bluegrass record and a jazz record,” says Hornsby. “This record is a reaction to having made those two albums, which are really about virtuosity on the instruments. I felt like, ‘Okay, let’s have this have no virtuosity and no solos — at least none from me.’ ”

Hornsby says that there are 17 songs penned for “SCKBSTD,” but there’s no set timetable for when the album will be done. “I’m just letting it come naturally but I like the places it’s taking us, songwriting-wise.”

If that weren’t enough, he’ll make his film debut on August 21 with the release of “World’s Greatest Dad,” a film co-starring comedians Bobcat Goldthwait and Robin Williams. Hornsby plays himself and has two lines. “I was really pretty bad at it,” he recalls. “I don’t think my phone will be ringing off hook with offers to star with De Niro.” And “Levitate” material shows up, too; Hornsby says his track “Invisible” is the “flagship song of that movie.”

Despite the intricacies that led to “Levitate,” Hornsby seems to appreciate getting back to the basics of studio recording. “Our attempt was a bunch of guys in a room playing,” he says. “A lot of this record sounds just like that. It’s a little old fashioned, but there’s nothing wrong with that.”

Here is the track list for “Levitate”:

“The Black Rats of London”
“Prairie Dog Town”
“Cyclone”
“Continents Drift”
“Paperboy”
“Invisible”
“Levitate”
“Here We Are Again”
“Space is the Place”
“Michael Raphael”
“Simple Prayer”
“In the Low Country”

Source & Original Source

Check out Mary Colurso’s blog in today’s Birmingham News for the scoop:

http://blog.al.com/mcolurso/2009/11/wayne_and_the_wailers_birmingh.html

I love the energy of Hubbard Street 2 Dance Company and can’t wait to see them perform this weekend.

Here’s info about their program:

The Restless
The incredible speed and fascinating structure of Bach’s “Allegro” from the Sonata No. 2 for Solo Violin along with the precision and enormous musicality of the dancers from Hubbard Street 2 inspired this choreographic collaboration, which strives to make Bach’s music subtly visible.And, for more info check out this link to a Birmingham News story about the co:

Gimme
A witty and playful duet by HSDC Artistic Associate Lucas Crandall, Gimme is set to the rustic score of the Norwegian Group Blå Bergens Borduner. The music’s variations on tempo and rhythm emphasize the changing emotional dynamic between the two dancers. Both passionate and ironic, Gimme saturates the senses with color and delight.

INTERMISSION

First Light
Music by Philip Glass. From the album The Orphée Suite for Piano: “Orphée and the Princess” and “Orphée’s Return”, performed by Paul Barnes. Courtesy of Orange Mountain Music and Dunvagen Music Publishers, Inc.

glass skin
glass skin is a piece that begins and ends with the individual dancers, evolving with each public performance.

INTERMISSION

Sight Unseen
Sight Unseen explores the connection we have with people…with or without boundaries or barriers.

Diphthong
An intriguing work influenced by the music of Belgium-based band Zap Mama. The syncopated beat evokes power and beauty and “is a visual representation of the music–it’s about the dancers getting swept away and moving through the space,” explains choreographer Enos.

http://blog.al.com/mhuebner/2009/11/youthful_hubbard_street_2_to_p.html

You have 3 chances to see them this weekend.  Friday and Saturday night at 7:30 p.m. and Sunday afternoon at 2:30 p.m.  Sunday’s show is designed for familes, meaning it will be slighlty shorter and much more interactive – you’ll really get some behind the scenes info!  For tickets, visit www.AlysStephens.org or call (205) 975-2787.

Even though some of the info is factually incorrect – we wanted to share this blog with you because it captures the spirit of seeing The Wailers live. The band is currently touring in South Africa, but soon headed our way – the show is just ONE WEEK AWAY!

The Wailers Live in Cape Town

“I was lucky enough to be in the crowd when The Wailers came to Cape Town for one night only last night. Of course, most people will ask who the hell The Wailers are but put Bob Marley in front of the name and it all becomes clearer. And let me tell you, if I had been wearing socks, they would have been rocked off. As it is, I literally have holes in the soles of my shoes from dancing from start to finish.

It was the first time I’d seen the opening act, The Rudimentals and they were really, really good. They had so much energy and excitement and they played really upbeat, truly South African reggae.

By contrast, The Wailers seemed to have a slower, simpler, more deliberate groove. They played all their massive classics but with a really cool, bluesy feel that the original Bob Marley recordings would not have had. Of course, only one of The Wailers is actually from the original band, but looking at “Family Man” as he is known, you can see he is just such a pro. Like he was born to play the bass on that stage, in those sunglasses.

What I loved though is that every single musician on that stage was there for the pure love of the music. From the vocalist’s constant smile and his prompts to “do your ting (said just like that) Cape Town” down to the guitarists massive riffs and everything in between- it was not for the fame or the glory, but because they really loved reggae music.

And when they went off stage and allowed the crowd to scream at the top of their lungs for a full ten minutes before relenting to an encore, I thought I was gonna go deaf. And then they played Redemption Song. Initially only vocals and guitar- so simple, so beautiful. And then with the entire band, vibey and cool. And the crowd sang from start to finish. And when I looked around at all the people there, from the middle class white kids through to the real rastas with dreadlocks down to their knees and a few hippies in tie-dye shirts, it felt like that was the new South Africa everyone had been dreaming of- everyone in one room singing about freedom, smiling, laughing, dancing. “

“Emancipate yourselves from mental slavery;
None but ourselves can free our minds” –Redemption Song

My Digital Life Feed – http://www.mydigitallife.co.za/index.php?option=com_content&task=view&id=1046025&Itemid=43

Source

Reserve your seats to see this legendary band by clicking here or calling (205) 975-2787.

As The Wailers show gets closer (it’s just a week away on Thursday, November 12), I keep finding amazing videos and reviews about the band’s past and present. 

Check out the video on Daily Motion which includes some history on The Wailers but also video footage of a few recent shows. 

http://www.dailymotion.com/video/k3i8gtQrPXPwYnJrhC

Being in the audience, and hearing the original members (along with a few talented new members) perform the legendary EXODUS album, will truly be a memorable experience. The lineup includes original Wailers Family Man Aston Barrett, bass; Keith Sterling, keyboards; Chico Chin, trumpet; and Nambo Robinson, trombone along with Elan Atias, lead vocals.

The band has also been incredibly busy putting together programs to aid world hungry relief efforts.  You can support the cause at the show by purchasing a special wristband.  And, this is cool…as part of their rider, instead of having the ASC provide food for the band and the crew, they have asked us to donate the food we would normally provide as part of the contract to a local food bank. 

Legendary musicians and humanitarians, it doesn’t get any better!

For tickets to the show, call (205) 975-ARTS or visit www.AlysStephens.org.

The dynamic Hubbard Street 2 Dance Company is headed to the ASC, Nov 6-8, for two evening performances and one afternoon family matinee.  We recently caught up with Ethan, one of the company’s dancers to chat about the visit. 

Jessica (ASC): It sounds like a very interesting program for your Birmingham shows.  I know that not all pieces are as easy to connect to as a dancer as others.  Is there one that stands out as a favorite or maybe as most challenging?

Ethan (HS2): There are two pieces in the program you’ll be seeing that I connect with the most at this point, one for being my favorite and the other for  being the most challenging. My favorite piece to perform is Terence Marling’s “Glass Skin” because he created a piece that can be different every time it is performed. The blue print always stays the same, but the architecture of the piece always turns out a little differently. For example, I have two solos in the dance with no choreography; he has simply given me some tasks and images to base an improvisation off of. It’s a piece that really brings all the dancers into the present moment and helps us connect with one another. 

The other piece I am enjoying right now is Alejandro Cerrudo’s “First Light”. This is the first piece created on this set of Hubbard Street 2 dancers and it was completed a little more than two weeks before our shows in Birmingham. The challenge then, is to come together as new dancers with new choreography, and make it appear as if we’ve been dancing this piece together for decades. I always enjoy a race against time and if any group of dancers could bring Cerrudo’s work to fruition, I have to be a little biased and say it is this Hubbard Street 2. 

 Jessica (ASC): Dancers have bad work days just like the rest of us, right?  How do you motivate yourself to go out and perform on those days that you just don’t feel quite up to it?

Ethan (HS2): Most definitely! I have found that the majority of my performances happen on the days I feel are the least ideal. Many factors go into how a dancer feels before a show, ranging from past or new injuries to having had to do 3 shows in a row two days prior, travel for five hours the next day, and then perform the following day. Thus, there are many different ways for dancers to push past these “slight” obstacles. Sometimes I find strength in my colleagues; the sheer joy to be out there dancing with people who wholeheartedly share my passion. When performing I have to be completely committed to the present moment, so that can help me forget the long bus drive I may have had the night before etc. Also, we are constantly reminded to keep the dances fresh, not performing them the same exact way every time but finding new challenges and ideas within the strict framework of our choreography. Sometimes we can use our lethargy, sickness, or soreness to go deeper into the movement, finding new pathways or effort qualities that we wouldn’t have explored had we been in the perfect mood. Even when it is the worst day possible, when all is said and done, we get to go out there and do what we LOVE. I don’t want to spend a day not dancing.

Jessica (ASC): Do you have any upcoming performance between now and your Nov. 6-8 dates at the Alys Stephens Center?  Same program or is it always changed up?

Ethan (HS2): We actually have two shows prior to our run at the ASC. Hubbard Street Dance Chicago has a partnership with the Art Institute of Chicago, but this will be the first time the second company will get to take advantage of this collaboration. We will be performing a condensed show consisting of 3-4 pieces. Our next show will be in Storm Lake, Iowa and it will be the same program that will be seen in Birmingham. For this fall tour we are bringing just one program, but it varies per tour. Our last spring tour to Germany consisted of five different programs, some of which had overlap of pieces, but nonetheless a lot of variety. 

Jessica (ASC): The company is being so generous to participate in many of the ASC’s educational programs while in Birmingham including a family performance on Sunday afternoon.  How will the family performance differ from the Friday and Saturday evening performances?

Ethan (HS2): We are very excited to be a part of the ASC’s educational programs. I know I love performing for children because they are a very honest audience; they find humor or amazement in moments I never would have seen before. The program for the Sunday matinee will be slightly shorter than our Friday and Saturday shows and will be much more interactive. I will hopefully be able to come out at some point and lead the audience in some basic movements found by HSDC’s educational outreach program to increase self and spacial awareness, focus, and even help with classroom activities such as reading. We strive to show just how accessible dance is, and not only get the kids active and moving but also mentally stimulated by the ideas and concepts behind what we do. 

Jessica (ASC): Is there anything you would like to see while in Birmingham?  Any favorite cuisine you’ll search out while here?  Just let us know and we’ll post a question on our blog and let readers make suggestions for you.

 Ethan (HS2): I’m not sure what I’m looking for in Birmingham. I’m the type in the company that gets pulled into what everyone else has researched or wants to do, but other times I let things find me. I asked around the company if they were looking for any specific cuisine unique to Birmingham and to be honest, none of us were really sure what that would entail. So if your readers have any suggestions for food idiosyncratically “Birmingham” please do share. Mostly, we are always on the look out for a nice restaurant that would be open after our shows (around 9:30 or 10:00 PM). And a place with karaoke wouldn’t hurt either…

 Tickets are still available for the shows, Friday, Nov. 6 and Saturday, Nov. 7 at 7:30 p.m. and the family matinee Sunday, Nov 8 at 2:30 p.m.  Just call 205-975-2787 or visit www.AlysStephens.org.