With the advent of the Christmas season it would seem odd to me and many others, if I did not at least mention the music that encapsulates the holiday season. There are many singers and standards that I could mention, for instance, Nat King Cole/The Christmas Song; Vince Garaldi/Christmas Time is Here; John Coltrane/My Favorite Things; Donny Hathaway/This Christmas; just to name a very few, but my absolute favorite Christmas album is performed and partially written by none other than Grammy Award winner Kirk Franklin, titled Kirk Franklin And The Family /Christmas, it was originally released in 1995 on Interscope records (although it has been reissued on many various years ever since).
One of the main reasons this album resonates so much with me (besides the beauty of the music), is that my children were kids when the album was first released. My eldest daughter who in now 29 (with children of her own) was only six, and my 27-year-old son (with children of his own), was only 3. As the years went by those two were joined by six other siblings, and one constant at Christmas time was this album. This album brings back so many memories for me, and for my children; our household never fails to play this CD at this time of year.
I have to chuckle when I see the album cover; Kirk looks so young and the clothes and hairstyles of he and the Family are classic 90’s “urban” chic. The album cover has the same effect of taking me back to that era, and the memories that the cover and the music evoke are powerful and warm. But although the clothes and hairstyles might appear dated, the music is still as relevant and rich as it ever was. There are eleven songs on the disc which makes this cd a full audio meal that can stands up to the challenge of being played from beginning to end. The recording is top notch too, so it sounds just as good as the day it was recorded which allows for enjoyable listening on today’s sound systems.
The first song on the CD is the classic Silent Night, but if you’re expecting the same version that you’ve heard since you were a child then you don’t know Kirk. Kirk is anything but dry and mundane. Kirk was raised in a Baptist church, but his music is reminiscent of the Pentecostal Church vein, so you can expect a slight difference in the delivery of the music, and Silent Night is no exception here. Kirk takes us directly to the island with his rendition of the classic. With the use of a steel drum, and a calypso beat, he revamps the classic into an Urban R&B tribute to his Lord. The song is delightful and soulful. Kirk never sings (although he has a very good, if not exceptional singing voice), he’s like that old preacher who, instead of singing, speaks the words of the song as the choir and congregation sing the lyrics. With the use of the tambourine, drums and a soulful organ, this song wraps you up in its warmth and mellowness. It’s a lovely song to begin the remarkable CD.
The second song on this CD was written by Kirk himself and its titled Now Behold The Lamb. This was the first song that I had ever heard from this album and it is one of the most profound songs on the disc. It’s a beautiful song that’s worthy of a place in the heart of any Christian music lover. What is impressive about this song (aside from its obvious beauty), is the Biblical accuracy of the lyrics. A lot of what passes for Christmas music is far from being considered Biblical, well this song is an exception. Hearing this song lets me know that Kirk is not only a music student, but a Bible student as well, and with this song Kirk takes the listener, both believer and unbeliever, into the true meaning of what has become, for many, a secular holiday. Kirk never strays far from his Pentecostal musical roots in anything he does, and that reality allows the listener to understand and experience the emotionalism of a lot of Urban gospel music, and the worship it accompanies within a large swath of that community. This song is unapologetically emotional and strong, and it hits the mark in its intention and delivers in a big way. Remarkable.
From that emotional pinnacle, Kirk brings us back down to earth with the funky groove of the third cut; Jesus Is The Reason For The Season. This song starts out calmly enough with the refrain of “Angels we have heard on High”, but then it does a quick 180 and becomes a straight PARTY!!! Kirk holds nothing back with the groove, the beat and funk as he lays it out for all to hear, and in a way that will make you not just want to pat your foot, but get up and bust a couple of moves too. He does not play on this song, he means to make you move and nod your head and does that ever so effectively. He wrote this song with a party in mind and all his licks and devices on it are borrowed from the music of the streets (Biggie, AWB and others), and brings the message down to the young at heart. There is a joy and an unrestrained energetic overflowing of creativity and love that you cannot ignore. But with all that explosive energy of music and sound, it (the song and the message), all comes back down to the real reason for the season, and if you listen to the song you cannot miss Him.
The sixth song on this CD is titled There’s No Christmas Without You. There are a couple of features of this song that set it apart as well as demonstrates certain trends within the modern Church and some of the various forms of worship. In the 19th century romanticism entered into a big part of American Christian music in the lyrics and the music, and that influence has carried on to a large extent into the 21st century. This song is demonstrative of that happenstance. The song has an almost sensuous feel to it. Its very warm and loving in an almost romantic way. The song has a slow beat with a warm bassline, and a sensuously beautiful tenor sax line. The liner notes do not tell me who the sax player is (my guess is it could be Kirk Whalum, but please don’t hold me to that), but it is one of the standout performances not just on the track, but on the entire album as well. Another feature of this tune is the warm keyboard and sensuous beat kept on the snare. But, in the context of the album this song works because when played within households of the consumer that warmth is translated into the love of the family, and that is what this album is all about. Kirk is no dummy and he not only understands his audience, but he fully understands the emotions he wishes to convey when this album is played, and he accomplishes that desire fully. Kirk is masterful in his music. He was a master at a very young age, and I am certain that mastery is still with him today.
Next in line is song seven, the carol O Come all Ye Faithful; written in the 1700’s by John Francis Wade (then titled Adeste Fideles). The remarkable thing about this track is how Kirk brought this song right to the twentieth (and now 21st), century. The mechanism used is the vehicle of romanticism that is heavily used within this album and within a lot of the church world today. This song is gorgeously done, and the refrain sung by the Choir “O come let us adore Him, kneel down before Him” lends itself to the romanticism conveyed within the music, but, at the same time, it lends itself to the regal-ness of the One to whom the song is addressed is conveyed at the same time. The modern touch within the music is carried by the bassline and the subtle conga drum that keeps the heartbeat of the song (a device used within a lot of Latin American music as well). The effect is a warm slightly upbeat song that carries with it the admiration and respect of believers. Kirk pulls this off in a way that almost only he can.
Silver and Gold is the last song on this CD. On it, Kirk gives a brief testimony of his youth, and his faith, and how much that faith means to him. The song, once again, effectively uses the vehicle of romanticism to convey the message of the song. The track also utilizes a deep bass synthesizer to carry the bottom register which sets the mood, and the Pizzicato stops on the synthesizer are used to accentuate spaces between the voices. The effect is a slow sensual beat that carries the song through to the end. This is the Pentecostal influence of modern Urban gospel music at its zenith. It’s a very short tune which effectively closed out this fine album. And as Kirk so apply states at the end of this tune; I hope you all had a Merry Christmas, and a Happy New Year.
Well, I come again to the end of another article. I cannot believe a year has so quickly gone by. Upon reflection over this last year, my mind comes back to the brevity of life, and the joy that music adds to it. But music is best appreciated when we appreciate it with others, particularly others whom we love. This album reminds me of that fact, and the last year of my involvement in the Pittsburgh music scene reminds me of that as well. I’ve seen many people come through at the parties and concerts sponsored by N-Motion Entertainment, and I am thankful to see you all enjoy yourselves so much. We all appreciate your patronage and support, and it encourages us to see you appreciate the product that we try to faithfully deliver. We will strive to continue to bring you top quality entertainment throughout the coming year, and I will strive to report on all the happenings that we are involved with, and also report of much of the fine recorded music I pray I will come upon in the coming months (D.V.).
Let me state for the record that I DO NOT own the rights to any music I have used in this or any other articles that I have written; I rest upon the “Fair Use” clause within the law to use them.
I’d like to thank any and all of you who have read my material within the last year. I realize that reading is becoming somewhat of a dying art, so the traffic I receive is greatly appreciated. Please tell all of your family and friends who enjoy reading to stop by and check me out. Please feel free to leave comments in the section provided, and if there is any music that you would like me to check out, please feel free to tell me about it as well.
Thank you all once, again, and remember, next time, “Catch You On The Corner”!
- B. B. Suber
Majestic Music of The Soulful Symphony / Darin Atwater / April 12, 2019 / The Souls of Black Folk!
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
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.
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
Helen Sung/ Sung with Words : March 25, 2019 Exceptionally Sung!
The 2018 offering “Sung with Words “, is the soul-child of five-star pianist Helen Sung. This album begins in a quite different mode than most jazz albums; that’s because of the presence of the spoken word in many places throughout this disc. The spoken intro of the first track features the pedestrian voice of Poet Dana Gioia. He collaborated to write the lyrics for many of the songs on this album and even reads some of the lyrics between a few of the numbers, and before this first tune he reads one of the poems he wrote for this CD. The poem is entitled “Meet me at the lighthouse”. With it, Dana effectively sets the mood for the entire CD. He speaks in a plain, uncool fashion; nothing in his timbre denotes a sense of the streetwise or city savvy that most would have at one time associated with jazz music. Instead the voice reminds you of the voice of a classroom professor as he reads an assignment from one of his students; but as soon as the drum beat of the first number begins you know you’ve come to the right place. The music takes you right where you want to be; on the corner of cool, hip, and worldly; smack-dab in the center of inner-city jazz on straight ahead avenue.
There are over fifty minutes of music on this CD, and with the accompaniment of the spoken word, this album will entertain and surprise the listener for nearly an hour. That is no small feat because every track on this CD is quality; there are no fillers or throw offs tracks, but only stellar number after stellar number. This is a very impressive offering to say the least, and Helen’s playing is thoughtful, measured, sure and artistic. She doesn’t miss a beat or flub a nuanced note. She is a world class seasoned jazz pianist.
All-star drummer Kendrick Scott begins the first jam with the fade-in of his insistent snare drum and cymbal as Dana recites the finishing lines of his vivid poem; “we are at the bar, The Lighthouse bar”, and the band has begun it session. The feel of the spoken intro is what you’d expect from a poetry reading symposium held in a university lecture hall or at a local library, while the seamless percussion intro adds to the appeal and mystic of the first tune on this album. The mood has been set, and you get the feeling that this is not an ordinary set of numbers on a disc, but instead, it’s a living breathing creation that must be experienced as the sum of its parts in order to be fully appreciated.
The drums slow crescendo intro leads us into the heart of the first number Convergence! This slick number is a straight-ahead masterpiece. It’s a throwback to a time when jazz was king, and the players were the avant-garde of the music and artistic world. This tune, just like much of the music from that time period (or as Dana calls it in the intro poem “that sinister century”), to which this tune beacons to, is a testament to the mind and spirit of a true artist. It speaks from the convergence of intellect, spirit, and the eye of the artist’s mind. The listener/experiencer must rise to the level of the art for the art will not descend to the easy ditty of the masses. Don’t get me wrong, the music is in no way pretentious or cumbersome, but instead it’s thoughtfully large, and allows the musicians room to explore the nuances of the music and their own interpretations thereof. Helen wrote this piece, and while listening to it, one can see that Helen it not only a master jazz player, but she is an appreciative student of the genre (as are all jazz musicians of her caliber), and a fine composer. This track has aspects of Coltrane and Miles, and many of the other musical giants of that era, and if they were around today, that would all love to have a crack at playing this one. John Ellis’ tenor sax leads us into the heart of the beast. His solo is strong, well balanced and sure. He tells his story in a satisfyingly complete manner and leads us into Ingrid Jensen’s trumpet. Her masterful solo has depth and complexity. It tells a complete story in a rich staccato manner and after satisfying us fully eventually lead us into Helen’s deft piano. Helen’s style has aspects of many of the masters who have come before her. She exhibits a knowledge and feel for the sixties reminiscent jazz piano style, and yet she gives it her own unique flare. This woman is for real. If they can could hear this track, I’m sure Miles and Trane would be smiling down on this one, and I’m certain Mr. Wayne Shorter would be, and probably is a fan of this one as well.
The track and the attendant solos are underpinned by the smooth rhythm section of bassist Reuben Rogers, and (as previously stated), drummer Kendrick Scott. Reuben’s’ expert chops ground the number into a classic cool jazz strut that glides along at an unhurried yet quick pace, and fans of Kendrick know of his ability not only as a band leader in his own right, but as one of the finest young drummers on the jazz scene today. Each solo is supported by Helen’s beautifully intelligent chords phrasing; she is masterful in her ability. But when we finally get to the band leader’s solo, we hear world class jazz piano at its’ finest. Helen is a champ. Her style is strong and firm, and she puts thought and instinct into each measure. It’s like setting a caged cerebral beast free for a romp; there’s no holding her back, and she takes over. Her playing is insistently exuberant while at the same times her phrasing allows the music space to breathe. It’s a delicate balance, and she pulls it off in supreme fashion. If you’ve never heard of Helen Sung, you have now, and she’s claiming her stake at the top of the heap.
After that killer first number, we get a chance to catch our breath with the beautiful ballad entitled The Stars On Second Avenue. The tune (just as is the entire album), is written by Helen, and the words (just as are all the words on this album), are written by Dana. The combination produced a hypnotically romantic wonder of a song. It’s the birth of a classic, and Helen and Dana should be extra proud of this baby. This one will be sung (pun intended), for decades to come. Everything about this song speaks to the heart of the listener. The song is designed to invoke visions of you and your lover sharing time on the neon lit city streets, and it does this in high fashion. There are some things that are common to all of humanity, and a true artist homes in on this reality with a gentle laser like intensity. Great artists have this connection with the audience; be it a painter who’s medium is oil paint and canvas, or a sculptor who’s medium is marble, chisel and hammer, or, as in this case, musician and poet; piano and the written word; the effect is the same; the recipient of the experience is transported to distant experience either real or imagined.
Jean Baylor’s beautiful voice delivers this lovely song in such an emotive and romantic fashion. You can feel the reality of her words as she softly sings them; she has lived this song, and she expresses that to her enthralled audience. Bassist Reuben Rogers’ warm solo divides the song in two, as he thoughtfully extends the mood and ushers in Helen’s piano voice for a few measures And lest I forget the unforgettable, John Ellis’ sweet tenor sax accompanies each of Jean’s measures with a breathy sexiness that lends itself so well to this song and the aura the song produces. An exceptional tune indeed!
Dana recites the vivid lyrics to the next song Hot Summer night. This cool, light dance-able tune immediately follows and begins with Samuel Torres’ hot conga percussion intro follow by Reuben’s funky bass. Christie Dashiell, and Carolyn Leonhart do the singing on this number; their voices have so much similarity that one can believe it’s an overdub, but it’s actually a cleverly well-done duet. Helen’s piano displays her ability to “woman” multiple genres of music. This lady does not merely play this funky tune, but she knows how to deliver it ease and a hot creativeness. This groove should be played all summer on many every jazz and smooth jazz station around the country. Helen is a top-notch pianist and her composition skills are off the chart. And I must mention the horn arraignment on this one. The horns accentuate the feel and dance groove laid down by the piano, bass and drums. This tune rounds out this LP in a fashion that allows this disc room to breathe. Without it, this CD would probably seem too heavy to listen to very often, but this track (and a second dance track “Mean what you say”), round out this hot album and give it the well-developed appeal that many listeners appreciate. I must apologize for not having an accompanying sample of this song, but Helen needs to be paid for her work, and she intentionally left some of her music off the sample list so she can eat (and who can blame her? She deserves to make a living like everyone else).
I’ll end this article by talking about song 10; Lament for Kalief Browder, I chose this song because of the contrast it has with the upbeat dance numbers on the disc. Helen not only has a keen sense of who she is as a musician, but she also has a keen sense of who she is conception-ally. Like an exceptional movie director, she knows what she wishes to get across to the audience. I could have chosen a couple of other tunes on the disc, but I chose the song because of the deep melancholy produced by the artist. Helen initially uses her Fender Rhodes to evoke an aural spaciousness to the intro, and John Ellis’ bass clarinet adds a deep sense of sorrowful foreboding that pulls the listener into the lamentation. Carolyn Leonhart’s haunting voice sings the notes in unison with Helen’s pensive piano; the effect is awe inspiring and surreal. The listener is transported to another world; a world of their imagination. You don’t actually know what the lamenting is all about, but the reality of that sorrow can be felt. Four minutes into the song, Kendrick Scott and Samuel Torres pick up the beat and the lamentation turns up in tempo and feel. The feel is the same, but there’s an urgency that permeates the music for several measures until, once again, the mood reverts back into the sorrowful mysterious dirge. It’s as effective as watching a movie on the big screen; in fact, you feel as though you’ve watched a distressful play unfold before you very eyes. This is when you know you’re in the presence of a master. Helen is just that.
I could go on. I absolutely love this album, and although I never heard of Helen until I stumbled across this album while searching for new music on one of my favorite sites, I do plan on going to see here when I get the first opportunity. She’s a superb artist and worthy of all accolades. I, personally, believe she should have been considered for a Grammy nomination for this album, and maybe, since this album was released so late in 2018, she’ll get that consideration in 2020. If so, it will be well deserved. And since I did not have a lot of video to share with you, I’ll drop this nugget of Helen playing Four by Four.
And, also, since I did find this link, and it’s on this album, I’d like to introduce you the the song Pity The Beautiful. It’s only a short bit of the song, but it allows you to understand just how good this album is.
I’d like to thank you all for dropping by again. I have been informed that traffic to “The Corner” is picking up, and I’d like to thank my readers for that as well, and I urge you that if you like what you read, pull some of your friend’s and family’s coats and have them drop by too.
And.. let me state for safety sake that “I do not own the rights to any music or video used within this article and refer to the “fair use” clause within the law to do so”.
Now that that’s out of the way, I’d like to brag just a little bit. I get excited about some of the good music I review on “The Corner”. Some of the stuff I hear is so good that it stops me in my tracks and I just have to write about it. Well that happened to me when I heard a cut off of this woman’s album; I wrote about Tia Fuller’s album Diamond Cut last year. I was blown away when I first heard it, and I thought it was some of the best stuff I had heard all year, and apparently so did many others because she was nominated for best Jazz Instrumental Album of the Year (I thought she should have won). The award went to Wayne Shorter (one of my favorites, and he has the recognition, so I guess I’ll live with it), but Tia’s album is still FIRE!!! Check out the article and listen to the music in our archives!
In the upcoming weeks, I have some very good (and interesting), music to write about. I plan on writing about Marvin Gaye’s new release (it will be released by the end of this week) “You’re the Man” which was recorded in 1072, and I also will review some of the music of Dr. Don Shirley’s (he of the Academy Award winning movie “The Green Book”) music too, and many new national and international artists as well. AND, I plan on visiting Baltimore MD at the end of March to see Darrin Atwater’s Soulful Symphony at Morgan State University. I will definitely be writing about that!
You can also catch me in the SoulPitt Magazine where I have been the Music contributor for two years. You can find the magazine in many shopping establishments around the greater Pittsburgh area.
I sincerely thank you again for your support. I apologize for not responding to the comment section (I’ve been super busy trying to earn money for a new powerful computer which will allow me to work more efficiently). I should be up to speed on that real soon.
Thanks again, and please continue to stop by and check out the site as it comes together, and remember, next time “Catch you on the Corner”!
B. B. Suber