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Brian's Corner

August Greene

Three the Remarkable Way
December 11, 2018                                                                                                                             Mid-summer Magic 2018 

There are times in the music world when a group of iconoclastic artists transform a genre into the new sound of their generation, a sound that is not only heard, but experienced as well. Initially, the combination of artists when first announced may seem an unlikely mix at best or a gag at worst, but, after all is said and done, the resulting work turns out to be a thing of sheer beauty and supreme artistry. This summer’s seemingly odd entry into multiple musical genres is the Amazon Music produced and released album August Greene, and it is just such a work. It’s the offspring, the ethereal offering, of 3 great stand-alone artists; world renowned rapper Common; highly accomplished veteran jazz drummer, rapper, producer Karriem Riggins; and superstar jazz and neo-soul pianist Robert Glasper Jr! Their collaboration has produced one of the most conceptually unshackled masterpieces of the year.

 

The complexity and beauty of thought and expression grafted onto this vinyl is the evidence of the years of labor, love and living that these men have poured into their respective crafts. A lot of the album may not be considered light weight listening (although it is easy on the ears), but this piece is an autobiographic encyclopedia of the lives lived by these men, and their story is sonically written in the eleven chapters of this musical tome. The mood of this LP is at times melancholy, but the mood never weighs the listener down, instead that mood is used to draw the listener in; particularly via the energy and lyrics expressed by Common. This body of work showcases the interesting life lived and the maturity garnered thereby that Common embodies and shares with his audience. He shines on this LP, and August Greene would not be what it is without him.

 Common

Each track is worthy of examination and comment, but I will leave that up to the listener to explore. I have picked a few of the tracks to examine and write about just as an taste of what can be expected from what I believe is a ground-breaking offering. Let me say here that for some reason this album reminds me of another ground-breaking masterpieces conceived by Miles Davis; “Kind of Blue”. That too was a melancholy body of work and, as I believe this album will emulate, Kind of Blue changed the landscape of jazz music for more than a decade. This album has that same potential. This album is a jazz album, but it’s more than that; It’s a hip-hop masterpiece, and a R&B soon to be classic as well. This LP will be talked about for a long time, and I, for one, am expecting some noise from this work during the awards season in February of 2019 (can anyone say “Grammy”?).

Meditation is the first cut on this winner. This short track sets the tone for the entire album, and aside from the mellow mood that is set by the music, Common’s urgent voice and solid cerebral rap takes the listener exactly where this trio wants them to go. This song is just a tease of what lies etched within the lines of the LP (or encoded on the CD). You are being taken on a journey, and although it may seem a bit foreboding, you know you’re going to learn something along the way, and the anticipation of what is waiting ahead elicits excitement and anticipation. Don’t worry, you won’t be disappointed. Welcome to the “well of the black pool of genius”!

 Robert Glasper Jr.

On this cut the listener gets a view of what will be heard and experienced on the whole body of work. Common does the vocals, Robert is on Acoustic piano, Kerriem is on drums, and the mellotron synthesizer is played by Somora Pinderhuges. The mix of musicians and music at times seem to produce a feeling of voidness and desolation but it is simultaneously accompanied by an evasive sense of hope. This type of emoting can only be produced by artists of the highest order. These players are seasoned and in touch with who they are as people and as artists. Their transparency allows the listener to experience the music in an organic way. It’s as though the listener is experiencing the emotion directly. This is the hallmark of great artists. They allow you to feel what they felt as they created the work.

The next song on the Disc is titled Black Kennedy. The players on this cut are the same as on Meditation except that Pinderhuges is doing the lead vocals on this track instead of using the Mellotron. The mood of this song is subdued but lighter than a lot of the album. Common’s lyrics are autobiographic and revealing; he tells about his upbringing and his thoughts on his life. Robert and Karriem hold down the melody and beat expertly, and the bass of Burniss Travis is mellow and cool. The three deliver a smooth funky groove that allows Common to pontificate freely. He spit out his rap with a smooth verbal dexterity that accentuates the beat and feel. This jam is a beautiful ride with the top down; just like Somora P. sings in the song. You can almost experience the convertible cruising the city under the streetlamps on a warm summer’s night.

Fly Away is the fifth song on this CD. In many ways it’s the most autobiographic song on the CD for Commo. He raps of his lost loves, and his feeling of being trapped by his own self-destructive tendencies and how they cost him to sabotage his own love affairs. In fact, in many ways, this is the most intimate encounter with Common on this album. Here he’s at his most vulnerable and most honest. You see the humanity of Common in a way that is surprisingly personal. That takes courage and humility, but after all, that’s what real artist do. But what also sets this track apart from most of the CD is the use of the strings near the end of the track; they are absolutely beautiful! I’m nor sure if they are synthesized or real, but they are credited as the product of Patrick Warren, and he does a superb job. The strings take this song to another level and lend to it a sense of transcendence and romance lost. Also, I’d be remiss if I did not mention the vocals of Samora Pinderhughes again. He sets the tone off initially with his voice, and he adds his overdubbed harmonies near the end that enhance the mood in a poignant fashion. This is a gem of a song.

 

 Karriem Riggins

The eight song is one of my favorites on this album of favorites. It’s the hardest jam on this piece and Common absolutely RIPS this song! He kills it! No Apologies is Common at his best. He holds nothing back and sets is completely off! If you thought Common had lost it then he proves that you are completely wrong. The man is just plain old BAD! I tell you now, that this jam will find itself on my weight lifting playlist. It’s hard and It’s relevant. This is one of those cuts that makes this album the complete package. Plus, that band rips it too. They feed off one another in a frenzy of sound and energy, and this song lets you know that this project was not just a good idea by some stellar music artists, but this project was meant to be; it was no mistake; it had to be done, and it was done in a fashion that will leave a mark on the musical landscape for some time to come. I am not going to talk too much about who is playing what or who wrote what, I just advise you to listen. Listening will tell you all you need to know. Enough said!

Song number ten is an old favorite of mine and many others as well; Optimistic, the old “Sounds of Blackness” hit. On this cut Brandy, (one my favorite singers because of the love for her that my daughters have; Cinderella ), does the heavy lifting, and she is just as beautiful as she always was, and her voice is just as beautiful too. This jam is just as uplifting and inspirational as the original and it is a palate cleanser from all the heaviness of the rest of the album. This track, after all, is the only danceable song on the album and it’s beautifully done. The version that is linked to this article has some extra musical improvisational footage that I wish was on the album, but the album version is a standalone complete package, so nothing is really lost. And, of course, Common is the common denominator on this tune as he is on the entire LP. He sets a rap off that adds to the song in a fashion that makes is seem as though its always been there. The rap is as relevant and uplifting as the song itself is. To further cap off this marvelous rendition of this song is the video that accompanies it. It enhances everything that this song encompasses and brings the meaning of the song to the eyes as well as the ears. This is another hallmark of artists at work. True artists use whatever media that is available to communicate the reality of their surrounding in a way that is not just experienced through the five senses, but that if also felt in the mind of heart of the observer. August Green is just such a canvas.

Well, I think I’ve said enough. As you can probably guess, I give this LP a big “Thumbs Up”. Go get this one and enjoy it. To be honest, this was one of the most difficult reviews I have ever done. Not only because of the tremendous workload I’ve been under as of late, but also because of the tremendous weight of the material I have reviewed on this CD. An album like this is a workload in itself to talk about. There is a lot going on here, and to reflect upon it takes considerable thought and emotional digestion. The players and contributors put a lot of themselves into this piece and it shows. It’s not always an easy listen, but it’s worth the effort. I cannot tell you how many times I’ve listen to this album, but it has been a part of my life for about a month, and, yes, I’d do it again.

I’d like to thank any and all of you for taking the time to read this article. As with all of the things I write, it has been a labor of love. I’d also like to thank my boss and N-Motion CEO Shawn Hopson for being patient with me during this transition to our new site. Shawn is the reason why this site looks so good, and his labor of love is greatly appreciated.

In the near future we (N-Motion Entertainment) hope to bring many more national acts to the area, and, of course, God willing, I hope to be there to report on them. And, as much as in me is, I hope to report on music of interest right here on “Brian’s Corner”. Thank you all again, for your patience and your readership. Please feel free to leave comments in the section provided. I promise to respond as time permits.
Please enjoy the upcoming holiday season, and remember, Next time, “Catch You on The Corner”.

B. B. Suber

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Brian's Corner

Theon Cross Fyah Nawlins Jazz Funk from Across the Pond June 4, 2019

 

There are those who say that Jazz is stale, unimaginative and old. I’ve heard it all, and I’m sure you have too. Most people who think this way simply haven’t listened enough, or their minds are just so rigid that they have no room for imagining anything other than what they’re accustomed to. Well, when you listen to this young man be prepared for something different; something so out of the ordinary that you have to take a second and actually think about what you’re hearing before merely pushing it aside because you really don’t want put forth the effort to actually experience the music. Theon Cross is the definition of an iconoclast. He tears down barriers and wrecks stereotypes. In his music you can hear someone who is unafraid to be himself and patient enough to allow time for the listening public to catch up with him, because he’s not waiting around for anyone, and his train is moving fast.

Theon

Theon is a Tuba player; that’s right, Tuba. And to the uninitiated, this instrument in and of itself may not equate to their idea of what they call jazz, but to those of us who remember Miles, Thelonius, Dizz, and Parker, we know that iconoclasm is usually part and parcel with genius, and its musical genius that usually defines and shapes the beloved genre. Jazz is all about being unafraid to be different; unafraid to be uniquely you. Louis Armstrong was different; Ella was different; Nina was different, and we had to catch up with them. Dare I put this young man in their category? Only time will tell, but one thing I can attest to is that this LP is not your usual fare, and the superbly talented Mr. Cross is not your usual artist. In every generation there emerges a group of artists that blaze a new contrail in the musical skyline. They seem to rocket to a distant plane that at first attracts only a few, but following generations look back and point to them as the impetus for the new classic. Theon is that type of player.

His playing is reminiscent of the New Orleans sound in the way that the region’s jazz uses the bass horns; the trombone and the tuba, and when Theon plays the tuba, it suddenly becomes a lead instrument. This man rocks. Tubas aren’t supposed to carry the tune, rock a melody, and lead a song, but Theon pulls it off naturally, with home cooked groove peppered with style and funk.

Take the first song on this LP for instance; it’s entitled, quite appropriately, Activate, and with it, Theon takes off. He enters the soundstage like a 500-pound gorilla, but metaphorically he’s more of a Delta II Rocketship! He blasts off! He hits the beat hard and he doesn’t stop; Theon drives this tune from beginning to end with a relentlessly propelled funky groove. But with all the excitement this song exudes, there is an element of simplicity the accompanies the beat. The reason for this is that most of the song is played by a trio; Theon on tuba; Moses Boyd on drums and Ms. Nubya Garcia on tenor saxophone. There are a few measures mid-way through the song where Nubya’s sax is overdubbed, but the trio sound carries the load for the bulk of the tune, and the effect is amazing. The three players fill the room with driving music that not only makes you want to dance, but it makes you want to attentively listen as well. And the listener is awed by the artistry, virtuosity and stamina of the players. The song is a five-minute marathon. There is so much energy packed into such a small space the it seems as though the CD cannot contain it all. And you must pay attention to Theon’s solo near the end of the song. He amazes the listener with his sense of unleashed funk, groove and drive. This is not your run of the mill jazz diddy. It’s something far fresher and unashamedly different. And do not let me fail to mention the ridiculously fabulous drum play of Moses Boyd. He parts the Red sea of sameness and brings the listener into a new realm of raging jazz soul funk that will leave one breathless. Once the song ends, you’re almost relieved because you can finally catch your breath. This is one hell of an introduction that will not soon be forgotten, and you’ll beg to hear more.

Nubia Garcia

Song three is entitled Radiation. The players are identical to the first track, and although the groove is a bit slower than track one, the funky drive still floats atop the beat, only in a pleasant and a “bit” more relaxed fashion. The song opens with the funky prodding groove of tuba and drums, yet the jam still radiates pure unadulterated funk. There are no words being sung or being rapped; it’s funk in musical purity. The beat, the bass, and the horn; a tight trio that creates a head nodding beat that easy to follow but intricate enough to whet the intellectual appetite. Nubya’s sax sings the melody and sets the dance groove ablaze. She hits a smooth counterpoint to Theons pedestrian beat and leads the song into traffic jam of cool funky sound. It’s a dance tune disguised as a jazz funk exercise and Nubya is in charge.

Midway through the song the overdub device is used by the sax again, but the effect of Nubya’s tenor voice is an uncluttered raw canvas of beat and funk. And the funk is large, it cannot be missed, and there is no layer of sound to dilute it; it’s as uncluttered as it gets, but if full and mature at the same time. Funk, groove and improvisation are what you’re being fed, and it delicious. At times Theon sounds like the Godzilla of bass. He roars like he weighs a million pounds, but at the same time he is not overbearing; he just is, and he’s at his funky best. He’s a herd of elephants on the rampage, and in their wake is a crowd of sweaty dancing people. This song makes you want to see this man in concert, and I plan on doing exactly that.

Candace of Meroe is the 5th song on this LP, and it’s the first track to feature Wayne Francis on tenor sax (although Nubya does her excellent work on this video clip), and Artie Zaitz on electric guitar (Arties isn’t on the live clip either). This song is introduced and underpinned by the calypso beat of Moses’ drum, and it’s later accentuated by Artie’s exciting rhythm guitar play. But the heart of the number is opened by Theon’s jaw dropping solo. It’s hard to believe that this solo could be pulled off on a tuba, but hearing is believing. Theon is incredible and he attacks his solo with seasoned ferocity, but don’t be fooled, the song is really an interplay of tuba and tenor sax, with the tuba laying down a ridiculous groove that carries the song from beginning to end.

Moses Boyd

Theon’s tuba intersperses measures of improvised solos which further push the delicious dance groove. And, all this is accompanied by the Caribbean/ New Orleans style drumbeat, and the frenzied relentless rhythm guitar. Wayne finally takes his turn on the solo stage, and he delivers in a fashion that makes him the match of Theon (and he had better), which is no easy feat. Theon’s final solos follows, and the man delivers big time. He is the real deal, and that’s not to be argued.

There is not anything ordinary about this one. It’s unique in so many ways. It’s reminiscent of Miles’ excursions into the avant guard, but its not different for difference sake; the music sounds and feels authentic. And when the music is finally over, it’s almost a relief because the energy in so frenetic that it seems that it cannot be maintained. This is an excellent song; another quality offering on a quality CD.

Artie Zaitz

 

 

 

There is one standout ballad on this LP, and that’s the seventh song on the disc, and its entitled CIYA , which also happens to be the lengthiest number of this tasty album. This song features Nathaniel Cross on trombone, Artie on guitar, and Wayne on tenor saxophone. This one is smooth and groovy.It’s a cool ride in and open Cadillac convertible on a warm summer’s night. It smooth and easy, and Theon’s tuba is plays nearly like a double bass warm and smooth, understated, full and large. Moses’ drum play is smooth and understated as well and carries the tune softly along.
This song is a quiet meandering stream that soothes the soul and gives the listener a break for the relentlessness of the rest of the album. The music is quiet and tasty, and after all the high tempo music on this CD, it’s a nice change of pace that exhibits Theon’s ability to display the multifaceted colors of his mind. Nathaniel Cross’ buttery trombone solo melts in your ear and calms your spirit as well. His solo is followed by Theon’s own slow solo. He demonstrates that he can not only play the red hot funky driven stuff, but he can also slow it down, and exhibit the bluer side of his psyche. He’s a complex and complete musician, and I look forward to more of his music in the near future, and I look forward to hearing this young man in concert (and I hope he’ll be stateside very soon).

Well, I’ll leave the rest of the LP up to you to check out, and you won’t be disappointed. I didn’t touch on all of it, but its equally ambitious and just as good.

I’d like to thank everyone who took the time to read this article. We apologize for the delay in updating our mag; it seems as though when things are going along smoothly, something comes along to throw a wrench into the machinery. We have it all fixed now, and we hope to keep it that way.

You may have noticed that I’ve spent the first five months of the year only writing about one CD per month. I plan on writing two article per month for the remaining balance of the year simply because other projects that I have been working on have wound down (more on those in upcoming articles). I have some exciting new artists to talk about, as well as some established luminaries that continue to shine as bright as ever. Keep a look out in the near future and come back and join this ride along with us.

The summer season is here, and as usual there are a lot of live national acts coming to town, and of course, N-Motion Entertainment is right there in the thick of things doing what we do best. We have some top-notch recording artists scheduled to appear in the soon at fantastic local venues around the city.

We have a tentative date for saxophonists Jeff Kashiwa and Steve Cole to appear at the Manchester Craftsmen’s Guild on July 13.

Also, we have the return of our AMAZING White Party on July 27th at Pittsburgh Center for the Arts in beautiful Shadyside! We will have several great artists there. Please stay tuned for details as they solidify. This will be a wonderful affair, and for those of you who remember the last one, you know I am not exaggerating, and I guarantee you will not be disappointed with this one.

And, on September the 6th we will be bringing national recording star Najee to the Manchester Craftmen’s Guild.
For details on these upcoming shows, please visit our Facebook page, or this magazine. Of course, “Brian’s Corner” will always keep you informed on what’s happen in the area.

And remember to check out NMojazz for all you jazz music searches. It ‘s the best and fastest growing music search engine in the world, and it’s home grown. You can link to it directly from this mag!

Well, that brings me to the end of this installment. I hope you enjoyed checking it out as much as I enjoyed writing it. Remember to tell you family and friends to come and give the Corner a visit, and feel free to leave feedback or artist recommendations in the comment section. And I look forward to personally meeting some of you at our upcoming events.
Take care, and remember, next time “Catch You on The Corner”!

B. B. Suber

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Brian's Corner

Majestic Music of The Soulful Symphony / Darin Atwater / April 12, 2019 / The Souls of Black Folk!

Conductor / Musician Darin Atwater

On March 30, 2019 in the large, well-appointed Murphy Fine Arts Center of the Morgan State University Campus in Baltimore Maryland, Darin Atwater and his Soulful Symphony delivered their angelic music to a sold-out auditorium and its captivated audience; an audience who had waited for nearly four years to see the resurgent Symphony perform again in the Baltimore area. I was in attendance with a good friend of mine (who had initially introduced me to this predominately African American Orchestra), and we had eagerly awaited (along with nearly everyone else I’m sure), for their return. Our wait was now over, and the performance we shared far outshined the memory of just how great not only the orchestra is, but also how great of a conductor, artist, and arranger Darin is, and how great of an influence he is to the Baltimore Maryland area specifically, but also the greater landscape of African American Music in general.

The Concert was entitled “The Souls of Black Folk”; it was named after the book written by W. E. B. DuBois, and the concert was sponsored by the New Shiloh Baptist Church with part of the proceeds going to help pay for renovations to their church home sanctuary. Darin also elaborated via Facebook post (as well as during the concert), upon the Soulful Symphony being named the resident orchestra for Baltimore’s Merriweather Post Pavilion during its summer concert season. The Post Pavilion is a beautiful roofed outdoor concert area that seats approximately 16,000 people. So, if you’re up for great orchestral music you can catch the orchestra there throughout this upcoming summer.

There are a few visible things that you will notice about Soulful Symphony when you see them in concert. The first thing you will notice is that Soulful Symphony has a Choir; in fact, the choir consists of twenty-six voices. There are eight sopranos, and eight altos; six tenors, and four bass voices. This gives SS a huge vocal presence, and the quality of the voices of the singers is jaw dropping (more on that later). Another thing you’ll visibly notice is the number of strings in this ensemble. There are thirty-two total string players. Of that total, there are ten first violins; eight second violins; six violas; 5 cellos, and 3 double bass viols. This number of stings gives the orchestra a lush string presence, which add a very high level of emotional nuance to the music. The sound is utterly remarkable and breathe-taking at times. And, because there are so many strings in relationship to the entire size of the orchestra, the strings are never drowned out by the horn section or the rest of the orchestra and singers. There is always a sonic balance that is pleasurable to the ear; the stage swells with the sound of strings, and the music projects an awe-inspiring emotive aura for the listener.

If you’ve never seen Darin, let me tell you that in height, stature, age range and appearance he might remind you of another famous black conductor Kirk Franklin. I’m sure they’re aware of one another, (and in this particular concert Darin performs one of Kirk’s songs), and they are both from the Pentecostal branch of the African American Church, so there are a lot of similarities between the two men, and their talent level is also on par with one another. Personally, I’m expecting some type of collaboration of the two in the near future. We’ll see; but back to the subject at hand.

Dr. and Mrs. Harold A. Carter Jr

The concert was presided by Dr. Harold A. Carter, JR., Pastor of New Shiloh Baptist Church. Accompanied by his wife, he gave a short speech, with was followed by a speech by Capital Campaign Chairpersons Dr. Robert and Mrs. Wanda Draper in which they also introduced all the members of the Capital Campaign Steering Committee members. And then the concert began.

As the audience became silent, First Chair violinist, the lovely and talented, Ms. Jessica R. Mc Junkins entered from stage right to a round of applause, she elegantly curtsied and led the orchestra in its’ “Concert A” tune up, after which the Conductor Atwater entered to further applause. After a brief interaction with the crowd, the concert began with the song Listen Lord A Prayer, a song that Darin wrote which is based on a poem written by James Weldon Johnson, which was followed by three songs written by Darrin; The Crucifixion, and Judgement Day, and the song Hem, Him, Hymn. All were well done, and very lovely, but the next song was sung by lead Alto Mia Coleman; the old classic hymn Amazing Grace (attached is the Soweto Gospel Choir Version of that hymn). This song was so remarkably sung that it defies explanation. Mia’s range is at least four octaves, if not five. She began her solo at an astounding baritone range, and gradually entered the soprano register. She amazed everyone listening, but, I suppose, the orchestra who listens to this remarkable woman sing regularly. She not only has an astounding range at her control, but she also draws from a deep emotional reservoir as well. She poured her soul into her solo, and you can feel the assuredness and certainty of what she is singing; the listener lives the song with the singer; there’s a oneness the is felt individually with everyone present. This solo was a highlight of many highlights from the evening.

The next female soloist (sorry, I don’t have her name), came to the front microphone and did a rendition of the 23rd Psalm. The interesting aspect of this, one of the most famous Psalms in Scripture, is that the version was written by none other than Duke Ellington! The arrangement for orchestra was, of course, done by Darrin, and the effect of the two was awesomely beautiful. Up to this point in time, this concert is not available on Vinyl, CD, or video, so unfortunately, I cannot link Soulful Symphony’s version, but I’ll link the original version sung by none other than the inimitable

Mahalia Jackson.

This version is just as beautiful in its own right and will give you an inkling of the performance we were treated with that night.

This Psalm was followed by a beautiful song written by Richard Smallwood entitled Total Praise. As you can hear from this rendition by Mr. Smallwood himself, the song lends itself quite readily to the orchestral experience. Richard is also a great conductor and composer of Gospel music, and he uses an orchestra frequently. Darrin is steeped in the church, and he readily equates the experience of black people in America with the Gospel experience of the church and the faith exhibited by our fore-parents in this land which was strange to them. This is a heritage of the black American experience, and the expression thereof is still strong today. It goes part and parcel with the struggles that black people have dealt with in their time in this country. We are visibly different, and that difference spells an alienation that many of us have endured throughout our lives; be it for better of for worse, it cannot be denied, and one place where it can be expressed in our commonality has been in the Churches; in worship, in the preaching and in the music. It’s a reality of our experience within this country that will never be forgotten, and that reality, and the emotion associated with it is captured in our art, worship and music, and this song is demonstrative of all three.

The last song of the first half of the concert is a song written by Judith McAllister entitled To Our God. This song is a rousing anthem of praise. It’s majestic and mighty in its concept and delivery, and it carries away the listener experientially; you experience the worshipful atmosphere through the music and words. The choir rejoices in the words and the worship the words express, and the audience cannot help but feel not only the majesty of the words being sung, but they also experience a minute measure of the majesty of the One to Whom the song is sung. This song is breathtaking in its delivery and feel. There is nothing nuanced about it. It is in your face and gives you a of glimpse of the majesty that awaits all of us when we one day step into the actual throne room of the Lord of Lords, and King of Kings. The song is so climatic that it leaves your soul crying for a break, and it lead the audience into the intermission on an emotional high.

After the brief intermission there were a few words of gratitude and benevolence from the Pastor Dr. Carter and the Campaign Chairpersons again, the then the concert resumed with Darin’s own song “Wednesday Night Devotions” which was followed by another of Darin’s compositions which was at one time sung by Donnie McClurkin, the song is entitled “Purple” The particular version I linked to is beautifully performed by the WPA Children of the Gospel, and it was similarly, and just as beautifully performed that evening at Morgan State. As the evening progressed, the audience was pulled deeper into a worshipful experience as the choir and orchestra majestically performed their concert. The reverence could be felt as well as it could be heard, and the beauty of the theatre was surpassed by the beauty of the music that filled it.

 

Kirk Franklin

After two more numbers, both as equally as awesome as the prior two, Darin took a break and exited stage right, relinquishing his station to one of the tenors (sorry, I don’t remember the young man’s name either), and the choir and orchestra brought the tempo up with one of Darin’s contemporaries Kirk Franklin,s tune Love Theory. The ensemble and the young man in the lead delivered a rousing rendition of the song and also lead the audience in a call and response that was inspiring and deliciously enjoyable to hear. The concert was as much a worshipful experience as it was a listening experience, and that was reiterated throughout the evening. It was a peek into the atmosphere of the Black Pentecostal Church experience in the U. S., and that aspect was felt to an increasing degree as the night progressed.

After that rousing number, Darrin quieted the atmosphere with the traditional version of the hymn Holy Holy Holy  (Alabama A & M Gospel Choir version). The number was beautifully done and was grand in its delivery. The symphony and Choir were awe inspiring. They delivered three more numbers, one of them being You Made A Way featuring Travis Greene, leaving the audience completely satisfied and emotionally drained, but they weren’t finished, at least not just yet. They put the cap on this amazing evening with the song There Is No Way which was written by Rev. Milton Brunson in the early 1980s. This song completed a great evening to the total satisfaction of the capacity crowd. If you’ve never experienced the Soulful Symphony, I would encourage all of you to check them out at the Post Pavilion this summer. The drive there is not that far at all, and hotel accommodations are moderately priced, and you can take some time and check out the Inner Harbor area of Baltimore while you’re down there too. It’s a good time and a great place in which to soak up the atmosphere of the city’s beautifully refurbished tourist area. For ticket information please check out Darin Atwater on Facebook.

Well, that’s it for this installment of B.C. I’d like to thank any and all of you who took the time to come and check in on what we do here. In the coming months we plan on having many more album and concert reviews for your enjoyment. Please feel free to leave comments in the section provided. We’ll try to respond as time allows. I do work a regular job, and I run a few businesses as well, so my time is limited.

Let me do my due diligence here and state for the record the “I do not own the rights to any video or music used in the production of this article. The items used are for illustrative purposes and the enjoyment of the reader only, and I appeal to the “Fair Use” clause within the law to do so.”

Now that that’s out of the way, remember to hit me up with any items or music you’d like me to review or check out. Also, remember to check out my articles in SoulPitt magazine, and I’m also writing a couple of books on other topics that I love. I’ll make sure and keep you updated about those as they mature.
Thanks you all again, and remember; Next time “Catch you on The Corner”.

B. B. Suber

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