April 30, 2018
The three-time Grammy award-winning band Snarky Puppy is the brainchild of bassist, composer, and producer Michael League, the band leader. And as many of you know, Snarky Puppy has a unique sound that seems to continually evolve and bring a fresh sound and unique conceptual outlook to the listening audience. This 2016 album Culcha Vulcha is no exception.
According to the Urban Dictionary .com, Culcha is Bostonian for “Culture”, or artsy (something I shouldn’t have had to look up after binge-watching several episodes of Ray Donovan), so, Culcha Vulcha is correctly translated “Culture Vulture”, and the album is reflective thereof. This album cannot be properly classified as R & B, NeoSoul, or jazz, and unlike a lot of Snarky Puppy albums, this CD is an entirely instrumental album. I think the most accurate descriptive analysis of this album would be Jazz Fusion, or Smooth Jazz Fusion (if there is such a designation). It’s an artsy kind of CD, and musicians will love this one too; it’s different, very interesting, and also very good.
Tarova, the first song of the album starts off with a nice drum/percussion heartbeat for a few short bars, after which the bass and keys enter in. This quartet grows into a catchy song that is led by the keyboards and a muted organ. A few measures later the song grows into a fully blown grove of horns, keys, flute, guitar, piano, keyboard, and a much fuller smooth funky organ to go along with drums and percussion. This song is a fantastic beginning to this album. It not only demonstrates the groove this band can carry, but it also exhibits the orchestral sound that this band has in its arsenal (a product of having 17 different musicians on this tune), and the compositional skills of Michael League.
This song is funky, cool, hip, and any other superlative you might want to hang on it. But it also has a cerebral aspect to it. It’s thinking person’s music; music designed to not only make you nod your head but give your mind a cognitive workout as well. This song will make you want to see this band live, an opportunity I’ll take advantage of in late June at Tri C Jazz Festival in Cleveland Ohio. The more I hear this band, the more of an enigma this band seems to become. I don’t know what to expect when I see them, but one thing I’m sure of is I’ll be treated to great music.
Next, I’ll examine the third song on the CD which is entitled Gemini; a song that was written by Justin Stanton, the band’s pianist.
The song begins with the drums, percussion, and the heavy groovy bass of Michael League. After a few bars the guitar, synthesizer, and voices enter in. And although this song does have human voices, they are not singing any words, but instead are harmonizing notes of a chord, and thereby become more of an instrument than a singer (so I stick by my assertion that there are no singers on this album).
As many know, the sign of Gemini is the twins, and on this song, the guitar notes are matched, or twinned by the voices. This device gives the song its odd beautiful feel. This song has an ethereal air to it and is reminiscent of the electronica musical genre. This song has a haunting quality to its delivery, but a full sonic quality as well, even though it uses a relatively sparse band (for Snarky Puppy) of only eleven players (including the overdubbed voice of Mike “Maz” Maher singing chords).
In the middle of the tune, the bass clarinet of Chris Bullock comes in for a few bars. The sound is almost jarring in tone, but it fits the mood and feel of this enigmatic piece. The song seems to tell a story of an epic journey, and it’s fitting because Snarky Puppy always delivers uncharted musical territories to its fans.
Song number 6 is entitled Go. This cut has one of the most jazz fusion-ish sounds on the album; and what I mean by that is that the sound is the most like jazz fusion when fusion was in its heyday in the mid-1970 -80’s. The bass line of Michael League (the song’s composer), carries the song and the mood throughout this selection. The bassline is funky and insistent, and like a lot of good Jazz, fusion reminds me of bands like Weather Report or Return to Forever (and even Jon Luc Ponty). All the elements of the genre are there; excellent composition, and grand instrumentation and virtuoso playing.
The song is very fresh; its new music and is no way a rip-off of anything that was done before, but this song has its roots firmly in that genre and time period. It’s one of the longest songs on the album which gives it the room to develop and evolve musically. The bass line keeps a funky steady beat, as the music revolves around its sound. The players seem to enjoy themselves as they are given the room to stretch out and just jam! The guitar and the keys stretch out to the fullest and ride the groove like professional surfers catching that perfect wave. It’s a fun song to get into and just let it play. This is a killer song and an excellent full-bodied composition.
Palermo is song number 8. In my opinion, this song has the most varied and complex percussion instrumentation on this CD. The song features 2 drummers, a shaker, an angklung (an instrument of Asian origin that resembles a hand held windchime), cymbals, handclaps, Kalimbas, congos, Bombo leguero (Argentinian drum and style of playing), a “Donkey Jaw” (yeah, it is what it is), maracas, and a tang-tang ( a percussion instrument made from bamboo which has beads that are shaken in one closed end, and a piston with a ball on either end that slides back and forth through a hole at the top of the instrument….whew! ; Please do yourself a favor and look this one up). There are also 14 players on this tune with the majority playing some type of percussion instrument. Also, there is an organ, and a Fender Rhodes (the famous electric piano), a synthex (look it up), a hammertone guitar (it kinda looks like mandoline), and five different wind instruments. This is a sonically complex song with a rich full sound and compelling percussion play.
Marcelo Wolowski, the band’s percussionist composed this song, and it’s one of the best songs on this album. The complex percussion instrumentation on this cut gives it an interesting sound through and through. The sound mixes the old with the new. The percussion undertone is as old as man himself, but the play of the newer instruments gives it a funky overtone that sets the sound right in the twenty-first century. Old meets new in a fascinating way. It’s a lovely song to hear, and it has a contemplative air about it as the percussions tend to mesmerize the listener. Snarky Puppy at its finest!
The last song on this CD is called Big Ugly, and its anything but. It’s the longest song on this amazing CD. It’s grandiose in conception and approach, and it’s a fitting end to this artful CD. When you hear this album, you can only wonder about the amount of work that went into producing it. This song exemplifies that work; it’s a microcosm of not only this album but the complete body of work that Snarky Puppy has produced to date. This is an amazing band, and they end this album in equally amazing fashion.
The song begins in mellow enough fashion, but it slowly grows in presence and expression. Its slow buildup is symphonic in feel and effect. But it’s mature sophistication never loses its funk appeal. There is a fantastic violin solo by Zach Brock, and of course, the percussion work is exemplary. I could listen to this one over and over again. Its albums like this one, and songs like this one that makes me enjoy this work so much. I am lucky and blessed to do this job, and you’ll be just as blessed by hearing this CD.
I cannot wait to see this band live.
Well, enough of my rambling. As usual, I hope you enjoyed reading this article as much as I enjoyed writing it. To tell the truth, I’m the lucky one, and I can only hope to share a small bit of my enthusiasm with my readers. Thanks for coming along for the ride.
I’d like to let you all know that soon we’ll be migrating to our new and improved site, and format. I’m eager for this move, and I hope you’ll join us and tell your friends about it. Details will be coming shortly (as soon as yours truly learns how to navigate the new surroundings…. LOL).
And please remember to use http://www.nmojazz.com/ for all your jazz, Neo Soul, and smooth Jazz searches. It’s the largest, most comprehensive, and user-friendly jazz search engine in the world, and I am certain you’ll love using it.
Also, feel free to submit feedback in the comment section. Hit me up if there are any artists or music you’d like me to check out and review. I’ll even give you a “shout out” in the column.
Thanks again, and as always, Next time “Catch You On The Corner”!
B. B. Suber
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 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.
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.
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.
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
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
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