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By Michael
K. Watts
Live from New York is a non-traditional concert review column which
chronologically recounts the magical moments of some of the hottest concerts
in the New York City area. Descriptive details and direct quotes are used
to paint a moment-by-moment picture so vivid as if the reader were actually
there.
www.ndeadavenport.net
Saturday, July 24, 2004 Central Park Summerstage--Rumsey
Playfield--New York City
To experience an N'Dea Davenport concert is to experience one
of the most underrated soul singers of the last decade or more. The former
lead singer for European funk-n-soul band The Brand New Heavies passionately
pours every bit of her soul into her performances, belting songs of love
and inspiration to her loyal following.
This Central Park Summerstage show was a rare opportunity to witness her
stage-power hence her 1998 self-titled solo debut. The album amassed critical
acclaim yet was unable to make a splash on the charts, and Davenport was
soon without a record deal. In the years that followed, Davenport has
performed in one-off gigs, including a handful in New York. The good news
is that she's been busy writing songs and making new music.
Davenport opened her hour-plus set with a new rock-edged track entitled
"Melody" and the soulful "Whatever You Want" (from
N'Dea Davenport), the latter book-ended with jungle beat re-workings.
"Some of these songs you may not be familiar with," said the
Atlanta-bred, New Orleans-based singer. "Just some tunes we've been
working with and coming your way soon."
Her new music is full of the typical subjects of love, peace and self-empowerment.
The hand-clapping "Just a Part of Me" is a mid-tempo song about
two people in love. The soulful "There and Back" is an inspirational
song about looking forward and not backward. "So Into You" is
a riveting Gwen Stefani-meets-British-Invasion-80s track that features
a deep-voiced Davenport on a haunting chorus. The crowd really responded
to the latter track as well as the captivating rock-n-soulful "Change
Your Lady," with its empowering, LaBelle-esq chorus: "Don't
try to fix me/'Cause I am for real/Why you always tryin' to change me?
"
Davenport, who performed on the now-defunct Lilith Fair tour, exuded her
customary high energy on stage, her super-blown-out hair flouncing every
which way as she jumped and danced about the stage. She often shoved a
tough-girl, clinched fist in the air, her trademark sign of rebellious
positivity, on tracks like the Latin-flavored "Mornin'."
The punk-funky fashionista also didn't disappoint with her outfit: a tan,
lumbar support brace lifted up over her chest and wrapped in 3"-wide
masking tape; a cream pleated skirt with red Japanese writing across the
waist (and temporarily tattooed on her left arm); more masking tape wrapped
around her calves; cream sneakers with red stripes.
"Remember a band called The Brand New Heavies?" Davenport asked
rhetorically. The crowd roared in affirmation. "They used to be some
friends of mine. I hate to say 'used to be' but we collaborated on some
stuff for a few years." It's odd that she would so nonchalantly refer
to her amazing 5-year stint as lead singer of the platinum-selling British
funk-n-soul band.
Shortly after The Heavies' 1990 debut album dropped in Europe, Davenport
was tapped to replace the band's recently departed lead singer Jay Williamson.
Davenport quickly moved to England to lay her voice down on the band's
debut album tracks in preparation for a U.S. release on Delicious Vinyl.
The band hit big in the U.S. during the early stages of the Neo-Soul boom
and at a time when Hip Hop achieved mainstream recognition. Meanwhile,
Davenport's version of the debut album was released in Europe to overwhelming
success. The Heavies' 1994 follow-up Brother Sister was a worldwide
smash, spawning several hit singles and further establishing the band
as a talented soul machine. By the time Davenport left the band to pursue
her solo career in 1995, she had become, and still is, the most notable
of the band's string of lead singers which has included Euro-soul diva
Carleen Anderson and singer-songwriter Siedah Garrett.
Nonetheless, Davenport invited the audience to sing along as she performed
the first Heavies track of the show, "Midnight At the Oasis"
(from Brother Sister--UK version). She even brought out two jumbo
beach balls and tossed them into the audience to liven them up. An awesome
rendition of the upbeat "Underneath a Red Moon" (from N'Dea
Davenport) which morphed into a crowd-moving cover of Roy Ayers'
"Everybody Loves the Sunshine." "Feel what I feel what
I feel what I feel in the sunshine" she sang repeatedly as the
8-piece band carried the tune to the end.
After just a few seconds of a jazzy, New Orleans-style pass on the bridge
of "Bring It On" (from N'Dea Davenport), the exuberant
trumpet and trombone sounded the first four notes of The Heavies' "Fake"
(from Brother Sister).
As gigantic beach balls continued to bound across the crowd, Davenport
ripped through some of The Heavies' biggest hits. The dance hit "Spend
Some Time" and the inspirational "Brother Sister" (both
from Brother Sister) lifted the crowd to a musical high. "Stay
This Way" (from The Brand New Heavies) continued the soul
smorgasbord. "I'm-a let y'all sing," she said, only to be disappointed
when the crowd couldn't get past the first few lines. She took over from
there and finished the song in her typical, high-energy style.
"Thank you. Much love. If you want more, you know what you gotta
do," Davenport announced before leaving the stage with the band.
She didn't have to tell this crowd twice. Cheers and applause commenced,
and moments later Davenport reemerged to deliver explosive encores.
The Heavies' trunk-funk classics "Never Stop" (from The
Brand New Heavies) and "Dream Come True" (from Brother
Sister) had Davenport belting her lungs out. She was running, jumping
and even salsa dancing about the stage as the crowd worked itself into
a frenzy.
"Good night. We love you. Peace out. Be good to yourself," Davenport
said before leaving the stage for good.
The crowd, which had risked enduring forecasted thunderstorms that held
off most of the day, seemed to be satisfied by Davenport's soulful set.
She thoroughly covered The Heavies' material, despite overlooking the
1994 Dallas Austin co-written smash "Dream On Dreamer" (from
Brother Sister).
Though not the strongest on the album, it seems that she would have done
more than just the bridge of her very first solo single, "Bring It
On." Overall, her previous solo material took a back seat to new
material, which is consistent with her love-n-positivity roots while stretching
her musical boundaries beyond soul. The new music definitely sounds promising
as music fans await the undetermined release of her next album.
www.dionnefarris.com
Monday, June 28, 2004-B.B. King's Blues Club & Grill--New York City
"It's been a long time," she said shortly after taking the stage.
Almost ten years to be exact. It was in 1994 that a petite ball of New
Jersey fire burst onto the music scene in a way that few had done before.
As the neo-soul movement grooved into full swing, Dionne Farris offered
an acoustic blend that was R&B, rock-n-roll, and a whole lotta soul.
With a critically acclaimed debut album, Wild Seed - Wild Flower,
and a Grammy nomination under her belt, Farris quietly and rather mysteriously
disappeared from the music scene.
With rumors swirling about her tussling with her former label, Columbia
Records, for creative control, Farris would ultimately leave the label
without releasing her sophomore album, never to be heard from again. Until
now.
"Come on up to the front and give me some love," Farris beckoned
to the throng of people sitting in tables in the rear of the club. They
severely outnumbered the handful who had gathered in the standing room
area near the stage for the not-so-well attended show. But those die-hard
fans who did show up were treated to an unforgettable evening.
Farris, now sporting a full head of wavy hair, debuted several new songs
under consideration for her soon-to-be-released album Signs of Life.
A limited edition EP of some of these songs was available for purchase
after the show.
"I'm-a take my shoes off," the Atlanta-based vocalist
said, stepping down from her plexiglass, platform heels. She paused for
bass player Khari Simmons to address a broken string, and then the lights
dimmed to a soft red.
The rock anthem "Passion" (from Wild Seed - Wild Flower)
continued the set with a barefoot Farris dancing periodically and harmonizing
melodiously with background singer Trina. Farrris engaged the crowd in
a hand-clapping, bluesy-rock rendition of The Beatles' classic "Blackbird"
(from Wild Seed - Wild Flower) before pausing the show to take
some questions from the audience.
"New record? This summer. Where have I been? I've been raising my
daughter," she responded. Apparently having nothing further to add
on those subjects, she moved on. But the next song would prove that she
has been, and arguably still is, working through serious, personal and
musical struggles.
The chorus of the soft, jazzy-soul new song, "Hidden Charm"
(from Dionne Farris EP) says: "Discover your hidden
charm/And a world of fascination/Discover just who you are/Your audience
is waiting/For the star to make a debut." Farris repeated the
last line several times in piercing, high-noted ad-libs. It was as if
the song were a personal anthem. When she was done, she raised her arms
high in the air and took a step back. The crowd showered her in applause
as she had her own quiet moment.
"Y'all give it up for Dionne Farris," background singer Trina
said. Farris replied with a simple "Thank you" as she tried
to pull herself together. "You're welcome, girl," a woman shouted
back from the audience. Later in the show, Farris would comment on how
she wasn't sure what she wanted to do with herself after she left the
music industry. But she said it was about her, not the music.
Two more new songs followed: "For You" and "So Blind."
Farris said the former song possibly would be the first single from her
upcoming Signs of Life. The latter song is a 3-4 timed, horn-heavy
song that was received favorably.
"We ain't got no set list in front of us," Farris revealed of
her 14-song set. The bass, horns and percussion came together remarkably
in the jazzy "Need Me," which sounded like soundtrack music
for a 70s blaxploitation film. The song segued seamlessly into a lengthy,
jazzy rendition of Nina Simone's "Sea Lion Woman." "That
will be on the new record without a doubt," Farris said.
The energized crowd got a chance to sing along with Farris again on another
horn-driven performance, this time with a Mo' Betta Blues flavor.
The popular soundtrack hit, "Hopeless" (from Love Jones:
The Music), had people dancing and singing "baah pah baah,
pah baah, pa baah, pa baah." People who may have been seated
a few songs prior were now dancing in front of the stage with everyone
else. "Let's hit that chorus again," Farris commanded after
the song had ended.
The reggae-flavored "Gravity" was next with its empowering
lyrics: "Gravity is pulling me down, down, down, down/But I can
fly 'cause I'm a heavenly body." Toward the end of the song,
Farris announced that her new album would be out later this summer. Then,
she said her goodbyes, picked up her shoes and clapped them together in
honor of the band, and left the stage. The crowd cheered and applauded
as the band played "Gravity" out.
"If you have enjoyed Dionne Farris, let me hear you say 'yeah'!"
Trina yelled to the crowd before leading them in a "Dionne! Dionne!"
chant.
Farris reemerged, this time with shoes on. "We gon' do an oldie for
ya," she said. "11th Hour!" one fan yelled hoping to hear
another song from her debut album. But instead, Farris delivered a soft
"Food For Thought" (from Wild Seed - Wild Flower).
Horns gave the song a charming, jazzy feel and a mid-song breakdown turned
jazz to blues. She got choked up and turned her back to the audience as
she sang the line "I want to lose the negative/But all I ever
seem to lose is time." The crowd cheered in support as she wiped
tears from her eyes. "Please don't let me be the only one using food
for thought," she pleaded.
Farris thanked the crowd for their cheers and shared that
it had taken her a while to get to the point of even wanting to sing again.
Another possible single, the good-feeling, island tune "Where You
Belong" (from Dionne Farris EP), cheered her up enough to
wear out the mic once again, just as she did on Arrested Development's
Grammy-winning smash "Tennessee." She introduced the band as
well as her daughter Sequoia who was with her. "This is the reason
for the season, y'all," she said.
Running out of time, Farris had the band play the show out with another
new song, "Can You Feel," which she sang minimally. "I'll
be back with a tour," she announced. "Peace and blessings."
Despite only a half-full venue, the cheers from Farris' fans indicated
that they were moved by her performance and glad to see her performing
again. Also received well was her new music, which is of the same lyrical
depth and musical breadth of her debut album.
Call it a comeback, call it a second debut, but Farris is poised to make
some serious waves in the same music industry that precipitated her departure
10 years ago.
www.trinabroussard.net
Monday, June 14, 2004 Soul Cafe--New York City.
She came. She saw. She let 'em have it!
The audience at Maria Davis' Monday Night Madness artist showcase at Soul
Cafe was probably not ready for a powerhouse like soul singer Trina Broussard.
Singing from way down in the depths of her soul and life experiences,
she spent over an hour sangin', testifying, and showcasing songs
from her debut album Same Girl.
Initially, Broussard seemed unsettled when she took the stage. But soon
she warmed up to the gospel-soulful "Joy" of her album's standout
inspirational anthem. To say that she wore this one out would be an understatement.
Interestingly, she sang with a mysterious, straight-faced nonchalance
that begged the question of whether she was enjoying what she was singing.
She exuded an even greater sense of confidence, not surprisingly since
she is still the 'same girl' she was 14 years ago when her career began.
Soul music followers may find it odd that a soul singer like Broussard
is just now releasing her debut album since she's been on the music scene
for so long. She's sung background vocals for Toni Braxton, Mariah Carey,
Babyface and others. She also penned Aretha Franklin's 1997 song "Here
We Go Again." Like Alicia Keys, she is a former So So Def artist,
but her previous 'debut' album Inside My Love was shelved before
it was to be released in 1999. The title cut from that album, a sizzling
remake of Minnie Riperton's 1975 classic, was featured on the soundtrack
for the movie Love Jones. The Atlanta-based singer says that
the disappointing experience hasn't stolen her joy or changed her very
much.
"I'm 'Still the Same Girl'," she sang while seated on a stool
early in the show. This song is one of several true-to-her-life songs
on the album. A glass of water in one hand and her microphone in the other,
she rose from her stool later in the song and belted her lungs out, bouncing
in the spirit of the song's testifying lyrics.
"Soundman, can you give me a little more brightness on my voice.
I'm soundin' kinda dry," Broussard said. "You sound good, Trina!"
a woman in the audience shouted back. As the crowd began to feel Broussard's
musical energy, she was working up a sweat but only just getting started.
A satisfyingly funky Curtis Mayfield bass line drove "Just Another
Way," a song co-written by soul singers Rahsaan Patterson and Van
Hunt about finally getting the courage to end a toxic relationship. At
the song's finish, as lights bathed her caramel skin, Broussard pointed
her finger out forward and wailed "it's over!" over and over
and over, and the crowd surely got her heart-wrenching message.
No matter how well she sang, Broussard maintained a serene humility about
her. Often, after vocally nailing a song or a part of a song, Broussard
would nonchalantly turn around to the band or her backup singers, as if
what she had just done were no big deal. Other times, she'd cut her half-closed
eyes over to the side in the middle of a line as if pausing for inspiration.
A high point in the show was the head-nodding "I Never Thought,"
which had Broussard scatting and channeling Stephanie Mills and Frankie
Beverly with her ferocious "never, no" ad-libs. She performed
a shortened version of "Losing My Mind," sharing with the audience
that it was the only song from her unreleased 'debut' that made it on
her new album. The crowd responded with an overwhelming 'awww'. Broussard
responded, "It's ok. God is good. Everything happens for a reason."
"Out/Gone" had her testifying again about packing her bags and
finally leaving a past boyfriend. She said his abusive language was her
"fuel" to get up and go. But "love is stronger than pride,"
she admitted halfway through the song. The music immediately blended into
the bass line of Sade's song of the same title, as Broussard riffed this
line repeatedly for an extended Caribbean-gospel jam. The crowd responded
with applause, and the modest diva calmly wiped her face and simply said
"thank you." Wow.
After thoroughly and beautifully annihilating what has become her signature
song, "Inside My Love," Broussard paused her singing to introduce
her band "family." She thanked her backup singer Trey Lorenz
(who has performed with Mariah Carey) for encouraging her to record "Inside
My Love" and teaching her how to write a song. "We fight like
cats and dogs, but I love him," said Broussard, the daughter of a
jazz-singing mother and an R&B guitar-playing father.
Broussard stressed the importance of saving the music, calmly bid the
audience farewell, and wore "Inside My Love" out some more in
a grand finish. As the crowd roared in ovation, she plugged her album,
singing "tell a friend, y'all."
This show was a long time coming for Broussard, to say the least. She
has weathered label drama and countless closed doors in her quest to release
an album. And Universal Motown is making that dream finally come true
for the Houston native. Yet, Broussard's live performance brings these
album tracks to life in a way that a studio just can't do.
For anyone who appreciates ultra-real, heart-felt, grown-folks soul music,
Broussard's show is a must see!
www.vanessawilliams.de
www.lavarecords.com
Friday, June 11, 2004 Circus Maximus Theater,
Caesars Atlantic City--Atlantic City, New Jersey.
Williams, an umpteen-time Grammy nominee, is no stranger to Atlantic City.
This is where she was crowned Miss America in 1983, only to have to give
up the crown months later amidst a flurry of controversy. This show, the
first of a two-night stand, was her first time performing in Atlantic
City in five years. And her set list was a die-hard fan's dream come true,
as she sang, danced and slinked her way through most of her hits from
her 16-year recording career.
As the curtain rose in the Circus Maximus Theater,
the 1,000-plus patrons were greeted with a svelte Williams, posing atop
a cascading staircase before bounding down to her mic at center stage.
The title cut from her smash 1991 album The Comfort Zone opened
the 19-song, 80-minute set.
An extremely poised Williams made ultra feminine
sways and gestures in her pink, studded tank dress as she stood at her
microphone stand for the first few numbers. A slightly uptempo rendition
of "Dreamin'" (from The Right Stuff) proved her top-notch
vocal prowess, as she alternated verses with the electric guitar, which
replaced the song's traditional saxophone solos.
She performed sincerely, gracefully, elegantly. She sang enthusiastically
without overdoing it, especially on her classic ballad "Love Is"
(from Beverly Hills 90210 Soundtrack), a duet with her pianist
Rob Mathes.
Williams spoke between songs, giving insight
into some and getting people excited about others. Most songs, including
a beautifully arranged "Colors of the Wind" (from Pocahontas
Soundtrack) and a soft and very sweet "The Sweetest Days"
(from The Sweetest Days), were of the same arrangement and length
as the original recordings, replicated nicely by her very talented seven-piece
band.
Casino shows like this one tend to be more abbreviated than those in traditional
venues to allow patrons to get back to the gambling tables, so Williams
kept her songs streamlined, with very little vamping or freestyle interludes.
"We got a lot of sentimental songs, huh?" said Williams before
livening things up with a smoothed out, jazzy version of "The Way
That You Love" (from The Sweetest Days). She dedicated the song to
her husband, LA Lakers forward Rick Fox, whom she said was with the team
in Detroit and whom she hoped could get in the game that following Sunday.
This was less than two weeks before reports surfaced that the two had
been estranged for some time. (Can you say 'hmm'?) Williams began to loosen
up a little more, dancing lightly, flouncing her shoulders and bouncing
her curly-coily brown hair.
It seemed that the crowd didn't recognize "The Way That You Love,"
an R&B would-be hit and bona fide Pop flop. But when she slid into
her career debut hit "The Right Stuff" (from The Right Stuff),
the crowd responded with cheers and dancing in their seats. "Somebody
knows [this song] out there!" Williams exclaimed.
Williams was fully loosened up at this point, walking the full length
of the stage and giving musical attitude along the way. But her performance
of "The Right Stuff" sounded more like that of a cover band
and carried much less punch than the original (the low-podded sound system
didn't help either). Same went for her mechanical rendition of the dance
anthem "Running Back to You" (from The Comfort Zone).
The latter also featured a moonwalking, pop-locking disco dancer who did
the bump and a little salsa dancing with her. Mr. Saturday Night Fever's
comical dance interlude ended the song, leaving this writer asking 'What
was that?'
"This is for all the working ladies out there… and men!"
was Williams' introduction to her 1991 hit cover of The Isley Brothers'
"Work to Do" (from The Comfort Zone). She worked the
stage and worked her hip-swishing body into a heavy perspiration. After
catching her breath, she said she needed a vacation and pretended to be
in Brazil for the next song, her stirring cover of Lia's 1988 R&B
smash "Constantly" (from The Sweetest Days).
On "You Can't Run" (from The Sweetest Days) she proved
that at 41, she can still salsa like she did in her 1998 hit film Dance
With Me. After her pianist Rob Mathes delivered a respectable performance
of "The Easiest Thing" (from Next), which he co-wrote,
Williams reemerged in a jazzy lime green dress to finish the song and
showcase her theatrical talents.
Williams introduced what she dubbed her "jazz set," which included
a medley of "Any Place I Hang My Hat is Home" and "Come
Rain or Come Shine." Both songs are from the respected but unsuccessful
1946 blues musical St. Louis Woman, for which Williams reprised
Lena Horne's role in a 1998 New York City Center Encores! performance.
The jazz standard "Peel Me a Grape" (from The Very Best
of Vanessa Williams) followed. "It's been remade so many times,
but it's got so much sass, I had to add it to my show," beamed the
Broadway diva and Tony Award nominee. A high-energy, flawlessly executed
dance number with two dancers ended the jazz set to the tune of Diahann
Carroll's "Loads of Love," from the 1962 Broadway musical No
Strings.
A severely shortened "Oh, How the Years Go By" (from Next)
gave way to an effortlessly delivered and beautiful "Save the Best
for Last" (from The Comfort Zone). Williams waved goodbye
and left the stage to the sound of thunderous applause. "Ms. Vanessa
Williams," the announcer exclaimed. Williams responded to the aggressive
claps and chants ("Vanessa! Vanessa!") with a Latin-influenced
"Betcha Never" (from The Sweetest Days). This salsa
dance finale was replete with two dancer-matadors with black and red satin
muleta capes, and had at its center Williams in a black sequined dress,
spinning and stepping and slinking all over the stage. A final bow and
Williams was done.
It is surprising that her R&B and Adult Contemporary hit "Darlin'
I" (from The Right Stuff) seems to always get omitted from
Williams' set lists and most of her greatest hits packages. With the slew
of not-so-big hits she performed, it seems right to have also included
"Happiness" (from Next) and "(He's Got) The Look"
(from The Right Stuff).
And with such a heavily choreographed and obviously
rehearsed show, it is equally surprising that Williams has no other concert
dates scheduled at press time. Meanwhile, amidst her non-stop, multi-faceted
career and motherly duties with her four children, the rest of her career
is in high gear.
By the end of 2004 alone, the seasoned triple-threat singer-dancer-actor
will have recorded and released her second Christmas album on her new
label, Lava Records; taped an episode of the PBS show Evening at the
Pops with the Boston Pops Orchestra in tribute to black Broadway
musicals; walked the runway during Fashion Week in New York; starred opposite
Cedric the Entertainer in the big-screen comedy, Johnson Family Vacation;
shot the pilot episode for the upcoming UPN drama Beck and Call;
and begun work on a new Pop album, which is scheduled for a February release.
www.npgmusicclub.com
www.prince.org
Monday, March 15, 2004 Club Black--New York City
"Y'all ain't ready," Prince declared at the top of the show,
not yet convinced that even at 1:30 a.m. these New York fans had really
come 2 party. Hours earlier, he had been inducted into the Rock-N-Roll
Hall of Fame and performed a short set at the ceremony. Similar 2 his
post-Grammy Awards show at the House of Blues in Los Angeles in February,
this post-induction jam was like a dress rehearsal 4 his upcoming Musicology
Tour. But unlike tour shows, it's at these after-show jams, and at this
late hour, that Prince truly comes alive on stage. He did not come 2 funk
around.
Unassumingly strollin' onto the stage with a red hat in hand, Prince warmed
up his 9-piece band with a high-energy jam session. He made minimal contact
with the audience. Instead, he directed his band through a series of solo
jams and concentrated on the musicianship which has made him the consummate
performer that he is.
Prince performances in recent years have offered less in the way of greatest
hits and more random song selections and spontaneous musical moments.
Tonight, his set list leaned more toward popular album cuts and selected
hits from his 25+ albums. He jumpstarted the party with the festive title
cut from his soon-to-be-released Musicology album, and then he
slowed things way down with the emotional "Shhh" (from The
Gold Experience).
The staging of the show was understated, but Prince was the ultimate showman.
Silhouettes in smoky backlights, animated poses, exuberant dance moves,
sudden spins (even in a black, red-pinstriped suit with an elongated coat)
translated into a classic Prince performance.
The crowd hadn't gotten hyped since he first entered the stage, but the
keyboard chords 2 "D.M.S.R." (from 1999) rejuvenated
the standing room crowd 4 an electrifying 4-song dance set. "I
like the way you move," he
repeatedly sang, referring 2 the popular Outkast song, with a bluesy moan
in his voice.
By now, Prince had turned the amps up, sending deafening reverberations
through the crowd. "House Party" was next. Then, a few instrumental
lines of Sheila E.'s "A Love Bizarre" and "The Glamorous
Life" flowed right into "I Feel For You" (from Prince).
Now, the crowd was dancing and loosening up. On "Controversy"
Prince had the crowd chanting with him:
"People call me rude./I wish we all were nude."
U know the rest.
"I do not believe in unfunky music, but I do believe in horns,"
was Prince's cue 4 his 4-piece horn section 2 blow. Legendary saxophonist
Maceo Parker, along with Candy Dulfer and Mike Phillips led the section
in praiseworthy solo performances throughout the evening. Prince often
performed shorter lyrical portions of songs in order 2 jam with his band
toward the songs' finish. While the horns had their moment at the end
of "Controversy," Prince slipped backstage and returned in a
red, sleeveless slender caftan with matching pants.
The pseudo-medley of classics that followed seemed 2 satisfy the crowd's
apparent hunger 4 more familiar material. "The Beautiful Ones"
(from Purple Rain)
had the crowd singing the first lines "Baby,
baby, baby" before Prince
was even ready 2 sing. He gave his usual erotic finish 2 the song, lying
on his back, gyrating and kicking up his Plexiglas-heeled red boots in
the air.
The ode "Nothing Compares 2 U" (from The
Hits 1) and a very sensual "Insatiable"
(from Diamonds and Pearls) continued the set as fans sang along
and danced close with their dates. Then, keyboardist Renato Neto dropped
a sample of the highly recognizable opening percussion of "Sign O'
the Times," and the jam of the year was reborn. Prince sang, "Sign
o' the times./Mess with your mind./Hurry before it's 2 late./Let's fall
in love, get married, have a baby./We'll call him Prince if he's sexy!"
Neto closed the set out with a
hot electric piano solo.
Prince thanked a long list of celebrity friends who were in the house
2 support him that evening: Lenny Kravitz, Anita Baker, Alicia Keys, Andre
3000, Musiq. Meanwhile, he eased into a mellow set that began with "The
Question of U" (from Graffiti
Bridge). In a mesmerizing solo,
saxophonist Phillips undeniably wore the place (and his lungs) out. Then
Dulfer got her solo on, but as vocalist instead, singing lines of Alicia
Keys' "Fallin'" amidst a soulful rendition of "The One"
(from New Power Generation's New
Power Soul).
"Let's Work" jumpstarted a high-energy set of party tunes. The
stage became a makeshift dance floor when Prince invited several ladies
on stage who were willing and able 2 do the "work" in question.
As the band jammed, he nonchalantly asked, "Tell me--have u got the
look?" Many hadn't even noticed the guitar lines slide into the mix.
As "U Got the Look" (from Sign)
cranked up, the standing room-only crowd was transported to 80's dance
heaven.
On stage, Prince was still delivering perfectly executed dance moves but
was just barely perspiring this late in the show. The laid back Prince
of today refrained from dancing on speaker towers and crawling across
piano tops--at least not 4 this pre-tour gig.
The band kept the club jumping with a jammed-out, freestyle performance
of "Life O' the Party," a new cut he has been playing in recent
gigs. As the band jammed, Prince at one point spontaneously sang "Just
gimme the light/And pass the dro!"
He even started saying his goodbye's--but instead of leaving, he kicked
in a cover of Sam & Dave's "Soul Man." The crowd went right
along with it and was rewarded immensely.
Prince tore into an explosive performance of "Kiss" (from Parade)
that had everyone fired up. "You
don't have 2 watch "Sex and the City"/To have an attitude,"
he sang 2 his New York City fans. Moments later he 'kissed' the audience
goodbye, thanking fans 4 what had clearly been a joy-fantastic evening.
The crowd went up in a roar, screaming, whistling and making
whatever sound they could 2 earn the encore they expected. People lined
the guardrails on both balconies yelling, "We want Prince! We want
Prince!" 4 a couple of minutes. Finally, their cries received a response.
The resident DJ 4 the evening kicked in an old-school joint, stage crews
came on stage and started removing sets, the house lights came on, and
the just under 2-hour jam was done.
Fans looked at each other in bewilderment. Surely, they must have thought,
Prince would do a full 2 and a half hour show, reportedly like the late-night
show he did at the House of Blues just last month. Surely, he'd perform
one more song from the new album. Surely, he'd perform "Purple Rain"
since this is the 20th anniversary of the film of the same name. Surely,
the band would jam one more time, with a climatic finish and a reprise.
Surely, Prince would do all of these things if u come 2 a Prince concert
expecting him 2 perform a 'typical' show. Yet, he surely left
the stage, never 2 return. Surely, he may have still thought, y'all still
ain't ready!
Fans from New York and elsewhere will hopefully get to experience more
of Prince as his Musicology Tour rolls across the country this year.
It ain't over!
www.theblissgroup.com
www.donniemusic.com
Friday,
May 9, 2003 S.O.B.'s--New York City
This final show of the 2003 Verizon Music Festival's
Club Series was like a soapbox for neo-soul vocalists Amel Larrieux and
Donnie. Struggles in their lives and along their career paths inspired
them to express themselves well beyond their music. They had a lot to
say, and they seemed eager to be heard.
"Can y'all hear me?" Donnie asked after discovering
his microphone was not working shortly after taking the stage. Performing
selections from his debut album The Colored Section, he unabashedly
tackled issues of racism, hatred, self-esteem, pride and love. "Everything
it will be alright," he sang from "Our
New National Anthem," pointing to people in the standing room-only audience,
seemingly hoping to lift their spirits and speak to their emotions. "Heaven
Sent" followed, as a now sweaty Donnie brightened up the stage with his
pearly-white smile and vibrant tenor voice.
Donnie is like a modern-day 70's activist and soul brother,
with his trademark kinky afro, rainbow-colored crown hat, and tie-dyed
t-shirt. He draws upon his own experiences to guide his musical flock.
"I was going through it trying to get to the point where I could say,
'Donnie, I love you,'" the Atlanta native revealed before launching into
the inspirational "You Got a Friend." His sound recalls 70's-era legends
like Stevie Wonder, Donnie Hathaway and Curtis Mayfield, heavy on bass
guitar and melodic chords from his 6-piece band.
"Beautiful Me," a song which shatters society's notion that
afrocentric features are not beautiful, sent Donnie's show to an energetic
high. The crowd really came alive, singing along to chants like "I'm
not a nigger/I'm a Neg-a-ro/When I become a nigger/I'll let you know."
Donnie became noticeably emotional amidst these lyrics and vented
further: "I am not a nigger! I am not a bitch! I am not a faggot!" The
audience applauded ferociously, seemingly born again with his words.
After singing his heart out on the Caribbean-influenced
"Do You Know," Donnie introduced his band and background vocalists. A
rousing, gospel-flavored rendition of "People Person" allowed Donnie to
laugh with the crowd amidst the song's funny anecdotes on the ironic sins
of the self-righteous. He stopped the song dead in the middle to preach
to his followers: "If you are a racist, if you think women are beneath
you, if you are a gay-basher, I want you to think about this and look
at yourself--really!" He glared comically across the room. The audience
laughed, but it was clear that his message was received. He spoke for
so many--blacks, women, gays--anyone who has ever faced discrimination
and been made to feel as though who they are is not good enough.
Dedicated to his aunt who passed a few days before, "Cloud
9," his celebration of natural hair, ended the evening on a high note.
As he sang the lines "Happy to be nappy/I'm black and I'm proud," people
screamed and shook clenched fists in the air in solidarity. "I'm Donnie.
Peace, y'all," he said as he left the stage, drenched in sweat and drained
of all he was able to express in his 35-minute show.
Nicely warmed up from Donnie's show, the audience received
Amel Larrieux with cheers about a half hour later. "I have no [microphone],"
Larrieux said after the crowd settled down. "I'm gonna let my beautiful
background singers take it until I get a mic," she said before scatting
mic-less to the music of her opening number, "Givin' Something Up." She
even went over and shared a mic with one background vocalist before her
own mic finally arrived. Starting the first verse over, the former Groove
Theory lead singer poured lots of emotion into the upbeat, bouncy song
about struggles and adversities.
This song was the first of two new songs she said she was
"fighting" with her record label, Epic Records, to include on her forthcoming
album entitled Bravebird. It was also the beginning of what would
be a highly emotional show for Larrieux, noticeably scarred but hopeful
about her future relationship with her label.
"That was a big rush of adrenaline," Larrieux exclaimed
already sweating in her black sweater-dress with orange and purple trimming.
She then introduced another new song, "For Real," a Prince-influenced
ballad about the pleasant, peaceful security one feels with his or her
mate. In traditional Larrieux style, she skipped up and down the high
registers, hitting super-high soprano notes along the way. Before getting
to more familiar material, she again alluded to her emotional state but
made a promise to her fans: "I will separate the bitterness I may have
from the person you see on stage by giving you positivity." The audience
appreciated her statement, although the depth of her bitterness was yet
to be revealed.
Meanwhile, the crowd focused on singing along with her on
an extended "Weather" from her 2000 solo debut Infinite Possibilities.
The song's inspirational message of silver linings in every dark cloud
set Larrieux off once again. "I'm blessed!" she shouted abruptly in the
middle of the song. "Look at me! I'm tearin' up and sweatin' in this crazy
wool dress!" A few more "na-na, na" choruses later, the song ended,
and she took a moment to get herself together.
"I'm not supposed to be a mess this early in the show. I
feel like Whitney," Larrieux said garnering gasps and bewildered looks
on some faces in the audience. She quickly clarified her statement as
a reference to her sweating and not the "mess" she referred to. "Whitney
is the original. Whitney is the best, and everyone is biting off of her,"
Larrieux added to set the record straight.
Moving right along, she introduced her next song, a cover
of Ella Fitzgerald and Duke Ellington's "I Like the Sunrise." She got
choked up as she acknowledged her mother in the audience as the one who
brought the song to her. Her remarkable performance was definitely a tear-jerker,
and her ad libs intensified as the song reached a crescendo. She began
flailing her arms about the air, caught up in the emotional lyrics. But,
the idol chatter about the room was evidence that the audience was a little
too young to appreciate such a classic. Her mother came on stage at the
end, and they embraced. "You can't come to my show without emotional outbursts!
It's just gonna happen," Larrieux said. She went on to thank her fans
for hanging with her all these years.
Switching gears, Larrieux got back into the groove with
the body-moving "Get Up" from Infinite Possibilities. The crowd
was grooving, rocking, swaying and singing along. Larrieux and her three
background vocalists playfully scatted back and forth at one point, and
then she dropped a bomb on the crowd.
"Somebody at my record label told me I better start making
music for the niggas," she revealed sending the crowd into a frenzy. "I
didn't know there were any niggas." Some people shouted words of encouragement
as Larrieux shook her head in perplexity.
Bitter she may have been, but with reason. This is an entertainer
who writes her own songs of spiritual uplift and inspiration--not the
watered-down, cookie-cutter songs often found in mainstream music. She
makes music that the masses do not buy by the millions, so it is to be
expected that as the neo-soul fad fades she will encounter more resistance
to her way of making music. Still, she continues making music her way
while garnering buzz, press and more fans along the way. Later she would
reveal, "My baby, my husband, my manager is the reason why I'm in the
magazines and in the commercials, not no record label!"
A beautiful new lullaby, "Still Be," was dedicated to her
kids. Larrieux showcased her trademark, wailing ad libs and scatting.
Vocally, she was amazing, singing as though she was giving birth to the
music. The crowd agreed. Next was a medley of songs which included two
new songs, the upbeat "You Will Rise" and the mid-tempo "Come Home," along
with the Groove Theory track "10 Minute High."
The show climaxed with a festive performance of the big
Groove Theory hit, "Tell Me," which had folks waving hands in the air
and singing along. "I was 19 when I wrote this!" Larrieux said in awe
of the time that has passed since the song hit the top five in 1995. She
is older now, with nicely-seasoned vocal chords fit for harmonizing acappella
with her background singers right in the middle of "Tell Me." They ended
their harmonies with a perfectly timed cue to bring the beat and other
instruments back in, and the crowd went up in excitement. But Larrieux
was only getting started. The band switched to a jerky remix of the song
and even flavored it with a salsa beat a few bars later. The prolonged
jam session ended with approving screams, cheers and whistles from the
audience.
The influence of Prince was heard in many of the arrangements
and stylings of some of Larrieux's music, both new and old. She acknowledged
her high regard for him, saying "I didn't give him enough props on my
last album." But she made up for it by covering his 1986 song "Mountains."
Yes. She performed a funkier version of the song which had true music
lovers and Prince fans in the audience having spiritual moments. Even
this writer had to stop writing to sing along as they jammed the song
for at least six minutes. Unfortunately, it seemed that many in the crowd
were either too young or were such shallow Prince fans that "Mountains"
was not familiar enough to move them. Funk them! Larrieux engaged the
crowd in a four-part, harmonious ad lib chant (she is, after all, the
queen of ad libs). "Could you be the most beautiful girls in the world,"
she sang to her background vocalists before introducing them and the rest
of the band.
The hour and 35-minute set ended with Larrieux inviting
a fan on stage to join her in an emotional rendition of "Make Me Whole"
from her Infinite Possibilities album. She plugged her management
company's web site before leaving
the stage. "Hopefully, if I can put myself out, then that's where we can
talk. I love you." For her sake, and for her fans' sake, let's hope she
gets her way.
www.kennygarrett.com
Tuesday, April 8, 2003 Iridium Jazz Club--New York City
Many call renowned saxophonist Kenny Garrett "the real
Kenny G," his jazz artistry and compositions consistently getting nods
from purists in traditional jazz. When Garrett places his shiny, brass,
musical counterpart to his lips and takes a breath, the sounds he blows
through the instrument and into the air seemingly erase any thoughts that
there could be another 'Kenny G.' After all, only one 'Kenny G' got his
start with the Duke Ellington Orchestra and went on to perform a five-year
stint with Miles Davis, not to mention collaborations with the likes of
Art Blakey, Sting, Peter Gabriel, and Guru on his Jazzmatazz projects.
Twelve albums and a multitude of Grammy nominations later, Garrett is
bringing some excitement to the traditional jazz world with his vibrant
latest effort, Standard of Language.
On the opening night of its 6-night stint at Iridium Jazz
Club, the Garrett quartet entered the stage and took a few moments to
tune. Seconds later, Garrett and his alto saxophone were racing up and
down scales, delivering scintillating trills on "Third Quadrant," an upbeat,
electrifying track from his 1999 Simply Said album. Laying out
while the bassist took his solo, Garrett quelled his nervous itch to perform
by miming the bassist's performance. Meanwhile, the drummer all but crushed
his drums, keeping the song's high-speed tempo with awesome precision.
Surprisingly, only one song from Standard of Language
made it into the Detroit native's 6-song playlist for his first of two
sets for the evening. "Kurita Sensei" is a laid-back, mid-tempo track
with a melody inspired by Wayne Shorter's "Footprints." Sporting corn
rows under his multi-colored kufi, Garrett used his soprano sax for this
one, delving deep into the free-spirited playfulness of the song. It is
clear that Garrett is not playing merely to perform for his almost capacity
audience; he plays because he is a part of the music. In fact, he seems
surprised at periodic applause but humbly acknowledges with a quick glance
across the room.
Speaking for the first time, Garrett introduces the rest
of the quartet: Vernell Brown on piano; Kristopher Funn on bass; Ronald
Burner on drums. He also shares the story of his Japanese language teacher
Kurita, for whom this last song is named, and under whom he studied while
on one of his many trips to the Far Eastern country. "Right now, we're
gonna play a song for you entitled, 'Kenny, dat ain't nutttin' but the
blues,'" Garrett announced--these the spoken first words of "Ain't
Nothing But the Blues," a Miles Davis-inspired track from 2002's Happy
People album. This soothing, feel-good neck-jerker showcased more
of the quartet--giving Garrett a chance to breathe a little more for himself
for a change. They delivered an impressive ending with a slow fade, until
only breath gliding through Garrett's horn could be heard. The crowd responded
with resounding applause.
The remaining selections all came from Happy People.
Next was a festive track, "A Hole in One," which Garrett said is inspired
by golf pro Tiger Woods and acclaimed jazz trumpeter Woody Shaw. All four
musical parts blended nicely, with Garrett back on alto and the drums
and piano driving the song. A piano solo sparked positive responses from
both the crowd and Garrett. When he hears something he likes, he smiles.
When the music moves him, he moves with it. When he performs, his sax
is like another body limb, another voice box with which he communicates
in his second language. Moments later, Garrett and Burner joined forces
for a thunderous sax-and-drum ending.
Funn and Burner left the stage for the melancholic "Asian
Medley," performed in three parts ("Akatonbo," "Arirang," "Tsubasawo Kudasai").
After a somber yet beautiful duet of soprano sax and piano, Garrett blew
solo halfway through the second part in an almost freestyle series of
crescendos and trills. Garrett is one with his instrument, displaying
his signature style of rocking backward and forward seemingly at the command
of the sax. The attentive yet mostly still crowd listened in tranquil
admiration. So sobering was this performance that Garrett had to overcompensate
to get the audience excited for the finale of this hour and 10-minute
set.
"Are you happy people?" Garrett asked halfway through an
upbeat yet smoothed out rendition of the title cut from his 2002 album.
"Well, put your hands together and sing 'happy people' on the count of
three." The audience awkwardly sang along, giving what they felt was their
best. "They're shy on Tuesdays!" Garrett sarcastically retorted to the
audience's less than stellar collaboration.
Returning to his alto sax, Garrett brought the song home
explosively, blowing with all his might, rocking backward and forward
again, to which the audience continuously applauded and cheered. When
he was done, Garrett smirked at the now excited audience and launched
into a reprise of the hook of "Happy People," sustaining the song's high
emotions. In his freestyle second close, Garrett seemingly could not let
go of his sax. A second reprise and another high-powered finish ultimately
made him, and the audience, quite 'happy.'
www.kindredthefamilysoul.com
Wednesday, March 26, 2003
S.O.B.'s--New York City
"Ladies and Gentlemen, please put your hands together
and surrender to Kindred," the announcer said as the soulful husband-and-wife
duo took the stage to perform songs from their debut, Surrender to
Love. This was not just another show from a new act hoping to cash
in on the neo-soul wave that has hit far less than it has missed. No,
Kindred the Family Soul is true soul music, rooted in familial virtues
of love, respect and truth, reflective of life experiences, and expressed
through 70's-style live instrumentation.
Just one week into the nation's war with Iraq, Kindred's
Fatin Dantzler and Aja Graydon made their war stance known, opening the
show with a cover of Edwin Starr's "War" (also ironically one week before
Starr's passing). It was no surprise coming from a duo that hails from
Philadelphia, a city known for its peacemaking, love-spreading music-makers:
Gamble & Huff, Teddy Pendergrass, Jill Scott, The Roots and Musiq. Tonight's
show likely provided the mostly-standing crowd a needed escape from the
world's troubles, with Kindred's "Surrender to Love" settting the tone:
Surrender to love/It'll get you through these days and times/Let your
love light shine/Come on!
Wearing matching black t-shirts by Philadelphia-based designer
Miskeen, Kindred performed for a crowd that was mostly unfamiliar with
their music. (This show occurred just one day after their debut album
was released.) But Dantzler and Graydon easily won them over with the
funky "Don't Wanna Suffer (Carbon Copy)," and had them shaking fists in
the air during a lengthy rendition of William DeVaughn's "Be Thankful
For What You Got."
By then, Dantzler had broken a sweat in a major way--his
on-stage persona floundering between vocalist, band leader and hype man.
Meanwhile, Graydon's makeup appeared unaffected under her fluffy afro.
Indeed, these twentysomething singer-songwriters and parents of two are
a study in yin and yang. Dantzler's youthful, excited on-stage energy
complements Graydon's usually calm demeanor. Vocally in sync, Graydon's
bird-like alto caresses Dantzler's rugged tenor. (His voice is a cross
between Terence Trent D'Arby and Christopher Ballin of Incognito fame.)
The kindred musical and romantic connection they shared on stage often
found them holding hands or serenading one another, as in "Stars," their
honest assessment of their work-in-progress relationship.
"Are you ready to keep this thing flowing?" Dantzler asked
the noticeably invigorated crowd. Kindred's 4-piece horn section blew
up the spot for a rousing rendition of Maze Featuring Frankie Beverly's
"We Are One." Next, Dantzler and Graydon danced together to a soul-meets-rock
version of their current single, "Far Away," their plea for an escape
from a world that has lost its soul. By the end of the song, the crowd
had visibly released its own stresses amidst Kindred's highly emotional
performance.
Graydon acknowledged one of their home girls from Black
Lily, a Philadelphia artist collective that helped give Kindred its start,
before launching into the explosive "Spread the Word," which borrows elements
from War's "River Niger." Kindred's 10-piece band engaged in an electrifying
jam session, with a punchy bass line setting off Kindred's soulful attitude.
Dantzler and Graydon had the crowd chanting with them: Spread the word/to
one another/It's the latest thing/If you ain't heard it/Well, get up on
this y'all 'cause/Kindred is about to bring it.
Graydon took her first sip of water for the evening and
slowed things down with the melodic "If I," in which she showcased her
silky-strong abilities. In response, Dantzler wrapped his hand around
Graydon's waist from behind and rested his head on her shoulder, feeling
the vibe of her voice.
The show ended on an extreme high with the King Britt Remix
of "Rhythm of Life." Atop a slow groove, Graydon belted out the first
verse, singing lovingly to Dantzler. They touched, they smiled, they laughed
in embarrassment. Then, the music kicked in with a classic house sound,
replete with resounding horns and a driving bass line. Everyone in the
place was dancing with hands clapping in the air, riding the musical wave.
Graydon even got the musical spirit and had to skip to the beat for a
minute in her silver boots. Moments later, the audience was clapping and
cheering as the performers left the stage, less than an hour after they
first arrived.
There were no encores for this performance; Kindred's musical
statement was clear from the start. In the spirit of neo-soul pioneers
like The Brand New Heavies and Incognito, Kindred is returning the genre
to a time when the music celebrated life and fed the soul.
www.indiaarie.com
Wednesday, August 14, 2002 Bryant Park--New York City
To use India.Arie's words, "I love this night! This
is beau-tee-ful!" And what a beautiful night it was. Under the stars and
trees of Manhattan's popular Bryant Park, Arie capitalized on the magic
of the breezy summer evening and made beautiful music. She took her fans
on a journey much like the one she embarked upon while touring with Sade
last year. It was that journey that formed the foundation for her highly-anticipated
sophomore album Voyage to India. It's a voyage to self, a voyage
to a new India, a voyage of liberation and peace, a voyage to a place
deep inside her that she had truly seen. And what a fantastic voyage it
was.
Wearing a white headwrap, a white off-one-shoulder loose-fitting
top, and a yellow skirt, Arie humbly entered the stage alone and quietly
took her place on a stool, acoustic guitar in hand. She set the tone for
the evening, as she often does, with "Intro," the first track on her debut
album Acoustic Soul which threads throughout the album, paying homage
to entertainers and loved ones who have passed away. A beautiful rendition
of Pharoah Sanders' "The Creator Has a Master Plan" followed as her sea
of fans sat peacefully on the park lawn. Probably her most personal performance
was "India's Song." This folk song was originally released on the 1998
Groovement EP, and it uses slavery and racist post-slavery references
like lynchings as a backdrop to her journey to paradise.
Throughout the night Arie's guitar was giving her problems.
Her guitar technician had to make regular adjustments to the guitar, but
it never seemed to perform to her satisfaction. Rising above this annoyance,
she still managed to make beautiful music.
"I have some new songs to share with you," Arie announced.
Tonight's show was one of her first opportunities to showcase new material
from Voyage to India. As her trademark hooped earring dangled about
her jaw, Arie sang her new material like a woman who knows from whence
she's come and knows where she needs to be. "This is my song right here,"
Arie admitted about "He Is the Truth" as the band entered the stage for
the first time, playing only minimally as Arie sang softly. Minutes later
she and the band launched into "I See the God in You" which she dedicated
to "the beautiful men." "I need y'all to be my music," a determined Arie
announced while an adjustment to her guitar had to be made midway through
the song. But she didn't miss a beat and finished the song without her
guitar.
"I don't know what's wrong with my guitar, but we gon' keep
on going. I feel kinda weird without it!" Arie confessed. But she trudged
forward on her journey, performing warm, island-sounding versions of "Nature"
and "Simple." The latter had Arie spinning around, her oversized sleeves
flailing in the wind. She danced with a backup singer and even got crunk
for a second--gyrating her body to the island rhythms. She was almost
like a child with the stage as her playground.
Arie performed the first single from Voyage to India,
"Little Things," which she says is about a lesson she learned last year
on her journey. Arie then beat-boxed an introduction to "Strength, Courage,
& Wisdom" which she dedicated to New York. At one point she had the audience
to recite the three words of the song's title. "Dang, that feels good!"
Arie beamed from the energy of the crowd who responded with resounding
applause when the song ended.
Turning her back to the audience, Arie shook her hips back
and forth as the beat of "Brown Skin" kicked in. The crowd cheered ferociously
as Arie performed a very bluesy version of the song, sans her guitar.
People sang along, some with their hands in the air. The song turned toward
a gospel interlude before returning to a bluesy feel.
Upon receiving her guitar back, Arie began playing the acoustic,
original version of "Video." The more familiar version of the song followed
shortly thereafter. "If you're a queen and you know it, clap your hands!"
she shouted as ladies all over the park stood up, clapping their hands
and singing 'their' song. Arie raised her fist in the air, snapping to
the song's soulful, bass-heavy rhythm. By the end of the song, everybody
in the audience was on their feet, dancing and singing along--faces of
all colors. "Love yourself! No matter what they say!" she exclaimed. Then,
a humble Arie curtsied and left the stage gracefully with her hands waving
in the air.
She returned for an encore performance of another new song,
"Good Man," with only her keyboard player, acoustic guitar player and
drummer, who merely snapped his fingers to keep the rhythm for her. "This
is my first time playing this live. Let's see if I can make it through
without crying," Arie said of the song in which a man laments his death
to his wife and children.
Her journey's end was a very emotional and heartfelt "Ready
For Love" which had folks witnessing in the audience. "This song is my
petition for love to come into my life," Arie revealed. When she sang
the words, "a man who loves art, respects the spirit world, and thinks
with his heart," the crowd went up in cheers as she held the note of the
last word.
Before leaving, she introduced the band members and even
plugged a project that bassist Khari Simmons and drummer Forrest Robinson
recently released: The Love EP by Jiva (Giant Step Records).
"Peace New York! We love y'all! Thank you so much!" Arie
bid her final farewell, and the crowd responded with cheers and ovations
as they stood in awe of this magical night, an awesome musical journey.
Arie tours the United States and Canada through the beginning
of next year.
www.willdowning.com
www.geraldalbright.com
www.pattiaustin.com
Sunday, July 21, 2002 Westbury Music Fair--Westbury,
New York
Each summer the highly-anticipated Rhythm of Love Tour rolls across
the nation with a musical soundtrack for the one thing we all need and
can't seem to get enough of--love. Will Downing headlines the annual tour,
and this year he brought along Gerald Albright and Patti Austin for a
three-hour show of R&B, Jazz and love songs. The in-the-round setup of
the Westbury Music Fair provided an intimate backdrop for what was to
be a magical evening. Backed by a single band, each of these talented
vocalists took turns, showcasing material from their past and latest albums:
Downing's Sensual Journey; Albright's Groovology; Austin's
For Ella, a tribute album to Ella Fitzgerald.
Albright always gives fun, energetic shows, and this one
was no exception. "The last time I was here, we had one big party, and
tonight we're gonna repeat history," Albright announced. On his 1989 hit
"Bermuda Nights" (back when he had a few more strands of hair, he said),
Albright had the audience snapping on the 2 and 4, as opposed to the rhythm-less
1 and 3--even the White people! Amazing!
Austin graced the stage next for the first of two unforgettable
sets. Not only does she sing like a bird, but she is a hilarious, brash,
saucy jokester and storyteller! The audience probably wasn't expecting
to hear Austin curse, clown White and Black folks alike, and turn around
and sing her lungs out! She busted into her set with her famous contribution
to Quincy Jones' The Dude album, "Razzamatazz." On her Grammy-nominated
remake of Thomas Dolby's "Ability to Swing," Austin scatted ever so eloquently
and then, she whistled. I mean, she whistled to the music as if she were
singing, hitting notes and everything. The impressed crowd responded with
thunderous applause. Before singing her self-penned song "So Good," she
told the story of coming into her own as an almost 52 year-old: "It's
all about me!" Austin declared sporting her new slimmer figure, "When
I'm not near the one I love, I love the one I'm near." Somehow she got
on the subject of male genitalia: "A dick looks like a turkey neck and
giblets." Yes, she said it--at least twice before making way for her male
singing counterpart.
Will Downing is one of the most underrated and under-recognized
vocalists in the music industry. Sigh... that having been stated, Downing's
first set was simply amazing as he showcased the highs and lows of his
range. He opened with two songs from his new album: his remake of Michael
Jackson's "I Can't Help It;" and the beautiful "Don't Talk To Me Like
That," a bomb-ass song co-written by Brenda Russell and jazz percussionist
and vocalist Vinx. Downing excited the crowd with an edited version of
"Sorry, I" before strolling through a couple of oldies. Before Downing
left the stage, Albright joined him on rousing performance of "Wishing
On a Star."
One of the great things about Albright is his on-stage energy.
When he plays, he puts his back into it, his hips into it, not to mention
his lungs into his horn. "Ain't no party like an east coast party 'cause
an east coast party don't stop!" Gerald exclaimed as he launched into
his customary jam session. He made the audience get up out of their seats
and jam with him and the band through loose musical variations on James
Brown's "Get On the Good Foot" and Kool & the Gang's "Funky Stuff." At
one point he even performed by simply blowing air through the horn--just
enough to make an air sound--and the crowd was loving it.
Following Albright's sweaty jam session, Austin reemerged
on stage. "We're going to maintain the old school flavor," she announced
before taking the crowd back to her teenage years in the 1960s with "I
Only Have Eyes for You." Austin's only performance from her Ella Fitzgerald
tribute album was "You'll Have to Swing It (Mr. Paganini)," which got
her a standing ovation from both the audience AND the band. She spoke
very highly of Fitzgerald: "She was the baddest heifer alive!" Austin
then told a funny, fictional story about how her 'musical husband' James
Ingram won't let her sing 'their' songs with anyone else but him. But
since this night's performance was "all about her," she performed an uptempo
"Baby, Come to Me" and had the audience wailing in laughter as she impersonated
Ingram's vocal parts. Austin had James' deep crooning voice and everything!
She wore out another Ingram collaboration, the Oscar-nominated "How Do
You Keep the Music Playing," this time singing the melody in one-part.
Apparently still miffed that the song lost the Oscar, she grabbed her
crotch to get back at that year's winner ("Up Where We Belong"). Yes,
she did--just like a diva. Then Austin announced, "Ladies, hold on to
your drawers because it's time for some sexual chocolate! Will Downing!"
Downing opened his final set with an upbeat version from
his latest single "Cool Water." His classic hit "Nothing Has Ever Felt
Like This" was performed along with his background vocalist Bridgette
Bryant. They performed it with the same intimate touching and caressing
which the song normally calls for. At one point they both sang into the
same mic, as Bryant caressed Downing's chocolate skin and his bald head.
It was like they were fighting back a musical orgasm. If you've seen this
song performed before, you know what I mean. Albright joined Downing on
stage for "Stop, Look, Listen to Your Heart" from their 1998 album Pleasures
of the Night.
The finale was a rousing, inspiring performance of "We Fall
Down," Albright's new jazz instrumental version of Donnie McClurkin's
gospel hit from two years ago. Downing and Austin provided vocals and
induced a musical high for the standing audience. What a better way to
end a magical evening! The crowd was feeling every note, every sound.
And folks surely made some good love when they got home!
If you've seen the show before, you know how nice it is.
These guys give a mind-blowing show and they have some serious fun on
stage. They perform hard and they play hard.
www.usherworld.com
www.stillmatic.com
www.faithevansonline.com
Saturday, June 29, 2002 PNC Bank Arts Center -
Holmdel, New Jersey
One of the hottest tickets on tour this summer united Usher, Nas,
and Faith Evans for a 2-month trek across the country. It was an urban
musicfest of sorts targeting the industry's number one consumer-the urban
teenager-and about 15,000 of them packed the PNC Bank Arts Center to pay
homage to their urban music heroes. Mr. Cheeks, who left the tour after
six weeks to join the P. Diddy tour, was replaced by hip-hopper Da Professor
and R&B b-boy-band 3rd Storee. The latter showcased songs from their upcoming
Def Soul debut before making way for the tour's first lady.
Backed by a 4-piece band and a DJ, urban diva Faith Evans
danced and sang her way through a 30-minute set of music from her three
albums. Evans strutted onstage as the bassline from her dance hit "All
Night Long" resonated throughout the venue. Fans got a taste of her
emotion-filled ballads "You Used to Love Me" and "I Love
You," and her new single "Burnin'Up." The mostly seated
crowd responded favorably to hits like "Love Like This" and
"Never Gonna Let You Go," which had people on their feet waving
hands in approval.
"I think my folks in the back are ready to get ghetto,"
Evans announced. But when she launched into her recent hit "You Gets
No Love," Evans received virtually 'no love' from the largely adolescent
audience, many just arriving the venue. Evans has always walked the thin
line between Hip-Hop and R&B, between young and old audiences in her music.
It seems that with three albums under her belt, maybe she should be headlining
her own tour, reaching a broader audience who would give her the love
she deserves. But, Evans took it in stride, giving fans her all in every
song, in every note she sang. Even performing on the soil of her home
state did not help Evans win over this audience who, despite their love
and respect for Evans, made it clear that they were here to see Usher
and Nas.
Nas emerged from his castle-like set, greeting a standing
and shouting crowd who raised their hands in the air like gats (at Nas's
urging) to the thumping beat of his hit "Got Ur Self A..." Throughout
the show Nas's good-and-bad persona shined through his brilliant lyricism
("One Mic") and his vicious verbal attacks ("Ether").
All in all, Nas kept his show simple, with just a hype man and a DJ, and
no unexpected lyrical warfare. He did not address the ongoing verbal war
between him and Def Jam rapper Cam'ron, who lashes out at Nas on a newly
recorded 10-minute track which was sent to radio stations days earlier.
Also, days earlier at the HOT 97 show at New York's Jones Beach, radio
station executives refused to let Nas include a newly-created segment
in his show wherein a Jay-Z lynching would take place. Apparently afraid
of backlash from Jay-Z and his label Def Jam, HOT 97 kindly asked Nas
not to perform at all. Tonight, Nas nonchalantly performed an abbreviated
version of "Ether," his verbal beat-down of Jay-Z. "I need
more competition now," he explained.
Like Evans, Nas had to cram five albums of material into
his 30-minute set, which included the hits "If I Ruled the World
(Imagine That)," "You Owe Me," and "Hate Me Now."
The Queensbridge, New York native brought out R&B newcomer and label mate
Amerie to sing the hook on his latest single, "Rule," his iconoclastic
call for peace which he dedicated to President George Bush. Amerie followed
that performance with a brief rendition of her latest single "Why
Don't We Fall in Love." By the end of the set, positivity reigned
in this Hip-Hop kingdom as Nas encouraged fans to pursue their dreams
relentlessly. "The mic is mightier than the sword," Nas bellowed
as he left the stage, "no more guns!"
A half-hour later, the man of the evening arrived. The Grammy
Award-winning Usher leaped over a massive, curved ramp-centerpiece on
the stage to greet his screaming fans as the band cranked up "I Don't
Know." The show was impressive at the very least, as the Chattanooga,
Tennessee-born entertainer showcased the evolution of a teen sensation
to soul crooner. The consummate performer and showman, Usher danced and
leapt and sang (no lip syncing here) through an hour and a half of songs,
mainly from his albums "My Way" and "8701."
The first half of the show showcased both old and new material
with the catchy "If I Wanted," the raging "I Can't Let
U Go," and the urban ballad "Nice & Slow." Usher delivered
a powerful rendition of "Bedtime," using a matured, more powerful
voice than on his previous tour. He invited a young lady on stage and
serenaded her with "Twork It Out" gentleman-style, giving the
fans a lesson on romance. The latter half of the show was packed mostly
with hits, including "U Got It Bad," "You Make Me Wanna...,"
and "U Don't Have to Call.&q |
N'Dea
Davenport 
Dionne
Farris 
Trina
Broussard 
Vanessa
Williams
Prince
Amel
Larrieux & Donnie
