The North Carolina Symphony welcomes all Whos, Things and Sam-I-Ams to Meymandi Concert Hall in downtown Raleigh for a family-friendly musical spin on Dr. Seuss’s “Green Eggs and Ham,” Saturday, Jan. 7, 2012, at 11:00 a.m. and 4:00 p.m.

Part of conductor/composer Rob Kapilow’s celebrated FamilyMusik series, presented with resounding success with orchestras across the country, “Green Eggs and Ham” is “a merry, whiz-bang romp,” says the Newark Star-Ledger

Kapilow hosts the Symphony’s performances and leads the orchestra in a Mozart-inspired take on the picture book classic. Blending symphonic music with direct interactions with young audience members, he expands on the book’s message of acceptance and trying new things.

“Kapilow offers a breath of fresh air,” continues the Star-Ledger, “perky theater music, spiky, piquant modernism a la Stravinsky’s Petrouchka, silly quotes from pop and classics alike (in this piece, “Heart and Soul” meets Chopin’s Funeral March), jazz bits, soul bits, you name it. Every time you turn around, Kapilow is pulling another rabbit out of another hat…Musically, the score stands up marvelously well—it’s clever and bright, there’s never a dull moment.”

For more than a decade, Kapilow has brought the joy and wonder of classical music to audiences of all ages and backgrounds. Characterized by his unique ability to create an “aha” moment for his audiences and collaborators, whatever their level of musical education, Kapilow’s work brings music into people’s lives: opening new ears to musical experiences and helping people to listen actively rather than just hear.

As The Boston Globe wrote, “It’s a cheering thought that this kind of missionary enterprise did not pass from this earth with Leonard Bernstein. Rob Kapilow is awfully good at what he does. We need him.”

General admission tickets to either NCS Kids performance of “Green Eggs and Ham” on Saturday, Jan. 7 are $20. For tickets, visit the North Carolina Symphony website at www.ncsymphony.org or call North Carolina Symphony Audience Services at 919.733.2750 or toll free 877.627.6724.

Meymandi Concert Hall is located in the Progress Energy Center for the Performing Arts, 2 E. South St., in Raleigh.

“Green Eggs and Ham” is the second of the Symphony 2011/12 NCS Kids concerts, held in Raleigh and designed for families and children ages four to 12. On March 10, 2012, the orchestra imitates the sounds of the greatest musicians in the bug world, including a performance of Flight of the Bumblebee, in “Bug Songs.”

Learn how to save on these exciting children’s concerts, and find links to some of the wonderful online opportunities for children to engage in orchestral music, at the Symphony’s NCS Kids webpage: www.ncsymphony.org/kids.

About the North Carolina Symphony

Founded in 1932, the North Carolina Symphony performs over 175 concerts annually to adults and school children in more than 50 North Carolina counties. An entity of the North Carolina Department of Cultural Resources, the orchestra employs 67 professional musicians, under the artistic leadership of Music Director and Conductor Grant Llewellyn, Resident Conductor William Henry Curry and Associate Conductor Sarah Hicks.

Based in downtown Raleigh’s spectacular Meymandi Concert Hall at the Progress Energy Center for the Performing Arts and an outdoor summer venue at Koka Booth Amphitheatre in Cary, N.C., the Symphony performs about 60 concerts annually in the Raleigh, Durham, Chapel Hill and Cary metropolitan area. It holds regular concert series in Fayetteville, New Bern, Southern Pines and Wilmington—as well as individual concerts in many other North Carolina communities throughout the year—and conducts one of the most extensive education programs of any U.S. orchestra.

Concert/Event Listing:

North Carolina Symphony

NCS Kids presents

Young People’s Concerts

Green Eggs and Ham

Rob Kapilow, conductor, composer and host

Sat, Jan 7, 2012, 11am and 4pm

Meymandi Concert Hall, Progress Energy Center for the Performing Arts, Raleigh

Promo picture for Steve Earle and the Dukes (and Duchesses) 2011 tour.

Towards the end of the second set of his extremely entertaining concert at the Durham Performing Arts Center last Saturday night, Steve Earle recalled that he’s played in this area quite a bit over the course of his career.

Earle spoke of what he called the “I-40 tours of the ‘70s”, performing at the Pier in Raleigh, and boasted that he’s “played all 3 Cat’s Cradles!”

This, of course, got a big response from the audience. Back in the first set, there was little talk as Earle opened with the first 4 songs off his new disc “I’ll Never Get Out Of This World Alive” (also the title of his new novel). As the show progressed, the man loosened up and told some priceless anecdotes – the best of which was about his son, Justin Townes Earle, hiding his gun from him back in the day for the introduction to “Devil’s Right Hand.”

With 2 sets, each over a dozen songs long, and 2 encores, Earle and the Dukes and Duchesses, brought a generous sampling of their brand of country/rock/folk/bluegrass. Earle played nearly every song off of his new album (“Lonely Are The Free” being the only holdout), and a nice mix of his hits, including a rousing version of “Copperhead Road” which kicked off the second set.

After a touching duet with his wife, country singer Allison Moorer, on “Days Aren’t Long Enough”, Earle left the stage for Moorer to sing a couple of her compositions (“The Broken Girl”, “Getting Somewhere”), and a beautiful cover of the Sam Cooke classic “A Change Is Gonna Come.”

In the second set, bassist Kevin Looney sang one of his own songs, and guitarist Chris Masterson and Eleanor Whitmore, (violin, fiddle, vocals) played the catchy “Crash Test” from one of their recordings as The Mastersons.

I would be remiss if I didn’t mention the great drum-work of Will Rigby, best known for the dB’s. Rigby has played with Earle since 1999 and it really shows.

Another highlight was when Earle, who appeared to switch up guitar, mandolin, and even bouzouki (which he warned to not call it that when going through airport security) on every song, brought out the guitar that belonged to his character Harley on the HBO show Treme: “This isn’t an old guitar, but it plays one on TV.”

The guitar has the phrase “This Machine Floats” painted on it, which he didn’t explain, but purists should know is a play on the statement on Woody Guthrie’s guitar: “This Machine Kills Fascists.”

The show would’ve been completely satisfying if it ended after the 3 song encore, but after the house lights came on then quickly dimmed, Earle and band came back out to play a passionate version of Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.”

They then closed with one of Earle’s most rocking songs – “The Unrepentant” from his 1996 release “I Feel Alright.”

It was a night that surely delighted both purists and casual fans. Having never seen Earle live before, I can truly say that I am now a convert. Here’s hoping he’ll be coming to these parts for a long time.

Set 1: “Waitin’ On The Sky” / “Little Emperor” / “The Gulf Of Mexico” / “Molly-O” / “Every Part Of Me” / “Tom Ames’ Prayer” / “My Old Friend The Blues” / “Someday” / ”Guitar Town” / “Days Aren’t Long Enough” (duet w/Allison Moorer)/ “The Broken Girl” (sung by Allison Moorer) / “Getting Somewhere” (sung by Allison Moorer) / “A Change Is Gonna Come” (sung by Allison Moorer)

Set 2: “Copperhead Road” / “Ben McCulloch” / “Mystery Train Part II” / “The Galway Girl” / “The Mountain” / “Free Men” (sung by Kelley Looney) / “Meet Me In The Alleyway” / “God Is God” / “Heaven Or Hell” / “Crash Test” / “This City” / “Taneytown” / “Hardcore Troubadour” / “The Revolution Starts Now”

Encore 1: “I Am A Wanderer” / “Hillbilly Highway” / “Devil’s Right Hand”

Encore 2: “It Takes A Lot To Laugh, It Takes A Train To Cry” / “The Unrepentant”

The North Carolina Symphony opened the season over the weekend on a note of remembrance.  Sharing its season opener with the 10^th anniversary of 9/11, the program reflected both the melancholy observance and the sense of unified patriotic optimism that followed the tragedy.

As the strings of the North Carolina Symphony began to play Ave verum corpus, K.618 (1791), followed shortly by the voices of the North Carolina Master Chorale, under the direction of Dr. Alfred E. Sturgis, the sound touched the senses so smoothly it was like finally coming into earshot of a sound that plays eternally.  The subtlety and simplicity of this short work by Wolfgang A. Mozart made it the perfect both joyful and solemnly meditative opening for the program.

The main event of the evening was Mozart’s Requiem Mass in D minor, K.626 (1791). The symphony played the 15 dynamic movements of the requiem with an upbeat tempo.  After hearing the Chamber Orchestra of the Triangle play Mozart’s Requiem last spring, The North Carolina Symphony’s rendition felt downright restrained.  This usually dynamic requiem never seemed to climax and instead maintained a fairly even level of intensity throughout.

The enthusiastic and sometimes jubilant voices of the North Carolina Master Chorale were the exception to monotony.  Their heads bobbed and their sound, which would have stood equally well alone, played in perfect conjunction as an instrument in the symphony.

Vocalists Dominique Labelle (soprano), Krista River (mezzo-soprano), Richard Clement (tenor), and Christòpheren Nomura (bass) were situated visually to blend with the symphony, which they did beautifully vocally, as well.  All the parts, vocal and instrumental, created one unified sound.

In between these two Mozart works, we heard the original composition of North Carolina composer J. Mark Scearce.  His work, This Thread for Mezzo-Soprano, Solo Violin and Orchestra (2003), featured Brian Reagin on violin solo, and mezzo-soprano Krista River.  The opening violin solo was a stirring hint of the dramatic melodies that would follow.  There was no sense of the orchestra holding back in this piece.  At one point there would be frenzied fear and chaos, at another, quiet sadness and remembrance.  This piece, and the North Carolina Symphony’s performance of it, effectively captured the mixed feelings many American’s have felt since 9-11.  The words of Toni Morrison’s poem “The Dead of September 11th“, vocalized by River, might have had a greater dramatic impact with a simple reading against the backdrop of the orchestra.  River’s vocal control and emotional commitment were captivating, but the vocals weren’t one with the orchestra.  It was challenging to process at times.  With Reagin’s violin contributing a melody beyond the orchestra’s, the vocals added an excessive third layer.  You can hear Scearce discuss this piece with Frank Stasio on WUNC at http://wunc.org/tsot/archive/9_11_Ten_Years_Later.mp3/view.

Despite the grandness of the program selections , and the theme of remembrance, I left feeling not as moved as I expected to be.

“Tonight I get to do 2 of my favorite things, comedy and charging people money for music.” – Steve Martin on stage at the Durham Performing Arts Center last Saturday night.

One of the warmest audience receptions I’ve ever heard greeted Steve Martin and the Steep Canyon Rangers when they walked onto the stage at DPAC last Saturday evening. “Thank you and good night,” Martin quipped.

Martin backed by the 5 man bluegrass band, who hail from North Carolina, launched into a sprightly instrumental called “Pitkin County Turnaround.”

The song was off Martin’s 2009 album “The Crow: New Songs For The 5-String Banjo,” which was his first full length disc as a musician (his 1981 release “The Steve Martin Brothers” featured a side that was banjo recordings).

It was a great opener as Martin and the Steep Canyon Rangers smoked. The sold-out house definitely agreed. While he and band tuned between songs, Martin joked in his inimitable style that was a joy to behold as he had said 30 years ago that he was retiring from stand-up.

While the evening was about music, there was plenty of comedy – sometimes in the songs themselves like the new crowd pleaser “Atheists Don’t Have No Songs” off Martin’s 2011 disc “Rare Bird Alert.”

The 22 song set was full of pleasers like “Daddy Played The Banjo,” “Jubilation Day” (one of the happiest break-up songs ever), and the Steep Canyon Rangers’ “Go Away, Stop, Turn Around, Come Back.”

After Charles R. Humphrey III produced a beer from inside his stand-up bass for him, Martin took a break and the Rangers played a few songs of their own including a great vocal rendition of Wade Mainer’s “I Can’t Sit Down.”

Their harmony vocals were astounding on the acapella gospel number. When he returned Martin remarked that he was looking forward to them working up an arrangement for it on their instruments.

The band also including Mike Guggino on mandolin, Woody Platt on guitar, Nicky Sanders on fiddle, and Graham Sharp who was the second banjo player onstage after Martin, often took part in Martin’s comic routines.

They also provided strong back-up vocals on the rousing encore closer “King Tut,” probably the best known song of the evening. With a new but still familiar arrangement, the song, which was Martin’s only hit (it reached #17 on the Billboard Hot 100), though he joked earlier in the evening that his hit was “Candle in the Wind.”

His white suit, his hilarious delivery, and “King Tut” were among the only similarities to the Steve Martin performances of the late ‘70s, although the banjo was always part of the act.

Martin’s no longer a wild and crazy guy, with bunny ears and arrow-through-the-head gear, but he hasn’t been that for a long time. Considering his successful film career, his books, his plays, and now his acclaimed music, the man is a true renaissance man.

He’s also an amazing entertainer, and armed with a great band, who can put on a show that’s as funny as it is a toe-tapping good time. Don’t miss Martin and the Steep Canyon Rangers if they come through the area again. I know I won’t.

BTW: The Steep Canyon Rangers will be doing a free show sans Steve Martin at American Tobacco’s “Music on the Lawn” Concert Series in downtown Durham on June 1oth at 6 PM.

Some art comes to you, speaks to you where you are, and seems to relate to particular aspects of your life.  Other art draws you away, lifts you and allows you to forget the particular aspects of your life.  Chamber Orchestra of the Triangle’s performance of “The Genius and His Foe” Sunday at Carolina Theater in Durham was the second kind.  The orchestra, with guests the Concert Singers of Cary played two Requiems, A. Salieri’s Requiem in C Minor (1804), and W.A. Mozart’s Requiem in D Minor (1756-1791).

The “genius” is Mozart, who could not help but create inspired works.  The “foe,” Salieri, who is rumored to have envied Mozart’s gift and lamented his own lack of the genius he saw in Mozart.

Salieri’s Requiem came first.  While still beautifully transcendent, his work was all around smaller than Mozart’s.  The intensity grew and fell, but was not held at any level for long enough to build suspense.  At the end of the final movement the strings became quiet and the chorus, brass, and woodwind instruments carried on to the last grand moment when the timpani joined.  The vocalists were strong features in this piece.  Soloists Jacquelyn Culpepper (soprano),  Mary Gayle Greene (mezzo soprano), Wade Henderson (tenor), and Don Milholin (bass) complimented each other and the orchestra.

Requiem in D Minor was Mozart’s final composition.  He died before it was completed, at only 35 years old, leaving one of his students to finish the job.  The height of intensity reached by the end of Salieri’s Requiem was surpassed early in the first movement of Mozart’s, and it only grew from there.  The chorus and soloists were an important part of the work, but the voices were more understated, allowing the orchestra to build a more constantly dramatic sound.  In certain parts the vocalists were perhaps too understated.

The longer periods of soft music growing to a staccato on the strings created suspense.  Throughout the work there was a feeling of urgency that never let up.  The smooth tone of the trombone solo in tuba mirum in the second movement stood out as a moment of lightness, as did the rest of tuba mirum featuring each of the vocal soloists in turn.  The melancholy of this piece seems to reflect the truths and rumors about the end of Mozart’s short life.

The pairing of these two pieces was the perfect topic for a pre-concert lecture by conductor and artistic director Lorenzo Muti on the lives of Mozart and Salieri and the context of their works.  His own interest and knowledge in the subject contributed to the audience’s understanding and connection with the music. He explained the conditions both Requiems were composed under: Mozart’s commissioned by a bizarre messenger, Salieri’s composed for himself.  Muti also addressed the source of the suspicion that Salieri might have poisoned Mozart, partly that Salieri claimed to have done so after losing his mind.  Whether the rumors are true or not, they make the differences in these similar works intriguing.

On the way out of the theater I overheard a woman say “I didn’t expect it to be so good after hearing it so many times before.”  It made me wonder how an orchestra can present a familiar piece like Mozart’s Requiem in D Minor and still draw the audience in.   For this orchestra it was no problem.  That may be due to the humility and sincere admiration for the work that showed in the performance.  Both pieces were treated with warmth by Muti, the orchestra, and the singers.

This was the first Chamber Orchestra of the Triangle concert for me — I’ve marked my calendar for next season’s concerts.

Today was the final performance of the Chamber Orchestra’s 2010-2011 season.  Visit their website at http://www.chamberorchestraofthetriangle.org/ for information about the 2011-2012 season.

by Denise Cerniglia

Next up was the long time Triangle area staple band, Dillon Fence. Their rousing performance drew an even larger crowd and got the audience ready for the long-awaited performance of Third Eye Blind. The band did not disappoint, playing all of their hits and a few lesser known tunes for the die-hard fans as well. The audience was on its feet for the entire performance and begging for an encore at the end of the set. Third Eye Blind happily obliged. The night didn’t stop there, though. An exciting after party show, featuring the beyond-talented I Was Totally Destroying it! followed. The band’s performance was enough to rival Third Eye’s Blind’s, and we’re sure we’ll be seeing them on the music scene again.

Even more important than the fun that was had by all, however, was the fact that the concert benefited a truly worthy cause. The proceeds from this year’s event went to Alliance Medical Ministries, an organization that helps to provide medical insurance for the working uninsured in Wake County. For more information about this organization or about all the ways in which Band Together is helping to make our community a better place to live, check out BandTogetherNC.org.

An old man disappointed with his life’s work makes a deal with the devil.  That is the story, in short, of Faust, the play by Wolfgang  von Goethe.  The opera, performed by North Carolina Opera, with music by Charles Gounoud and libretto by Jules Barbier and Michel Carré, opened Thursday night to a nearly full house at Meymandi Concert Hall.

The old man, Faust (tenor Dimitri Pittas), frustrated in his old age by the sounds of youth and happiness from outside, calls for Satan.  Satan appears to him in the form of Mephistopheles (baritone Christian Van Horn).  They make an arrangement that involves finding and winning the heart of the lovely Marguerite (soprano Mary Dunleavy) for the young-again Faust.

There is no shortage of talent in NC Opera’s production of the timeless tragedy.  Vocally and orchestrally the program is fully satisfying.

Leads Pittas, Dunleavy, and Van Horn; Liam Bonner as Marguerite’s brother Valentin; Irene Roberts in the trouser role of Siebel, Marguerite’s young suitor; John Brandon as Valentin’s friend Wagner; and Janice Meyerson as Marguerite’s friend Marthe Schwerlein are a cast of vocally powerful and dexterous singers.

Dunleavy’s bright tone is fluid and natural.  Liam Bonner who is on the stage too short a time is very welcome on his return in the second half.  Dunleavy and Bonner both transcend the small stage with their acting ability, on top of their breathtaking vocals.

The artistic design of the video projections, by S. Katy Tucker contributes to the storytelling.  The screen changes so subtly to reflect the mood that it’s hardly noticeable it has changed until a completely new image has formed.  Under these images are the English supertitles.  These short summaries are subtle helpers for non-French speaking audiences.

For all the talent on the stage and behind the scenes, NC Opera’s Faust is not without its problems.  This semi-staged production is sometimes crowded and awkward as the chorus moves on and off the curtainless area in front of the orchestra set with trees, tables and benches.  For the small area the singers have to work, the production is over-staged.

It isn’t all overdone, though.  The elaborately designed video projections and dramatic characterizations stand in contrast to the modern cargo-style khaki pants worn by the men in the chorus.  This costume choice pulls the audience from the magical place the music might take us to here and now.

Despite the weaknesses of the production, the weeping sound of the strings in the orchestra and the passionate voices are moving and might bring a smile one minute and a tear the next.

You can see North Carolina Opera’s Faust Saturday, April 30 at 8pm at Meymandi Concert Hall.

The Kronos Quartet

On Saturday, March 19th, Duke Performances presented Triangle audiences with Kronos Quartet • Steve Reich: Three Quartets, a breathtaking evening of music by the composer Steve Reich. Reich is an accomplished artist, having received the Pulitzer Prize for Music in 2009. He is a Grammy® Award winner, and has been hailed as a “living composer who can legitimately claim to have altered the direction of musical history” (The Guardian [U.K.]).

The Kronos Quartet is comprised of David Harrington and John Sherba (violins), Hank Dutt (viola), and Jeffrey Zeigler (cello). They are an acclaimed, influential group, having performed thousands of concerts around the world. In 2004, they won a Grammy for Best Chamber Music Performance; and in 2003 they were named “Musicians of the Year” by Musical America.

The connection between Reich and Kronos goes back decades. A piece called Different Trains, which was presented on Saturday evening, was commissioned for the Kronos Quartet in 1988. This piece closed the evening, and was a morphed reflection into Reich’s youth, traveling between Los Angeles and New York on a train with his governess; he thinks what the trains would have been like had he been in a different country during this time of 1939-42. Different Trains is broken up into three sections: I. America — Before the War, II. Europe — During the War, and III. After the War. Reich writes, “the piece thus presents both a documentary and a musical reality and begins a new musical direction,” regarding the blending of music, recorded voice, and forward thinking.

Steve Reich

The long-lasting and solid relationship between Kronos and Reich is evident simply in the dedication shown Kronos’ playing of Reich’s music, and the obvious care Reich has in his composing. The quartet worked marvelously together. And with Laurence Neff’s simple, yet elegant lighting design, the mood of the pieces and the tone of the evening was strongly supported and enhanced. Scott Fraser and Brian Mohr also displayed skill in their sound designing and audio engineering. The Page Auditorium at Duke University is a beautiful space (with horribly cramped balcony seating), and the technical staff pulled together an elegant sound.

The performance opened with Triple Quartet (1999), a piece dedicated to and commissioned for Kronos. It is a piece for three string quartets; however, on this night, Kronos played one set of strings against prerecorded tracks of themselves playing the other two parts. It consists of three movements: “fast-slow-fast.” In this opening number, I wondered if, in composing, Reich ever considers the look of the instruments. At times all four bows were taking long, high movements — and the beauty of the music was enhanced by the beauty of the visual of the musicians. This may be inherent in strings, but it is a mesmerizing sight. Kronos’ David Harrington spoke prior to this piece, dedicating its performance to the victims of the recent earthquake and tsunami in Japan. The quartet is currently being filmed for a Japanese documentary to be released later this year regarding Kronos and Reich’s WTC 9/11; and Harrington called attention to the strength of the filming crew, all Japanese, who were far from home when the tragedy struck.

The second piece was selections from a documentary video opera called The Cave. While the music was wonderful, the pieces, out-of-context, were a little droll. The final selection, Interior Drone, was just that: several minutes of a droning tone that continued on for what felt like forever. Definitely not the strongest piece of the evening, it still was able to show off what Reich is capable of achieving. It is also the first time in the evening when we are introduced to Reich’s abilities in using prerecorded voices in his music and how words and sampled speech can enhance the notes on the page; lifting the entire piece into a category it would have never been capable of achieving otherwise: artistic and musical symbiosis.

The crown jewel of the evening was Reich’s world premiere of a piece also commissioned for Kronos: WTC 9/11. It is what it sounds: a reflection and response to the attacks on the World Trade Center on Sept. 11, 2001. The piece is broken into three parts: I. 9/11/01, II. 2010, III. WTC. This fifteen-and-a-half-minute long piece utilizes an abundance of spoken word, using archival audio of dispatchers, air traffic controllers, and interviews from Reich’s friends and neighbors who were in Manhattan when the attacks occurred. What Reich does with the musicality of voice is extraordinary. Somewhere during part II, you realize there is a cacophony of sound, a chorus supporting the fleeting and constant movement of the notes; but what you may fail to recognize is that choral sound is actually comprised of one word. Perhaps it is silent, each syllable having been elongated and stretched, while a violin will play a note that supports the word.

The use of sound and spoken word begins instantly. The first sounds we hear in Part I is the warning buzz of a phone gone off the hook. The violin comes in, countering the sound; but the measure of the notes match that of the buzz. Throughout, melodies parallel the syllables in a sentence; so that the words and melody to the text “you could feel it,” played moments later without the words, is recognizable. That is brilliance.

The text used is chilling. From the FDNY dispatchers: “go ahead / Plane just crashed — / Plane just crashed into the World Trade;” from NORAD, “No / contact / with the pilot / whatsoever;” from an FDNY officers and the first ambulance driver to arrive at the World Trade Center, “My eyes just kind of shot up / flames…Everyone was running / running / Everyone was running and screaming / Then — / Then / The second plan hit;” and then psalms from a woman who sat among the bodies, “Hashem yishmor tzaytcha uvoecha may atah va-ahd olahm / The Eternal will guard your departure and your arrival from now till the end of time.” The piece closes with the words, “and there’s a world / and there’s a world right here.”

Reich’s new, electrifying work lingers with you. It haunts you. Much like the events of Sept. 11th still haunt the American people. The piece has no slant, it has no bias, it does nothing but elicit from you an emotional response. It’s almost like you’re back there, on that day, reliving the ordeal all over again. And for those who were more directly impacted by the events, having lost a friend, relative, or loved one, or having survived it all, the response can be overwhelming.

And, perhaps, this is what WTC 9/11 is all about. Remembrance of tragedy, acknowledgment of our survival, grieving those we’ve lost, and the embodiment of the strength needed in order to move ahead. Reich comments in his summary of this new piece, that Part III, “WTC,” can also mean “World to Come.” And as the voice in this part tells us, there’s a world right here. Hopefully, Steve Reich will continue to write powerful, penetrating, stirring pieces of music to document our world, right here.

SECOND OPINION: March 20th Durham, NC The Thread: Duke Performances Blog review by Chris Vitiello: http://thethread.dukeperformances.duke.edu/2011/03/reich-kronos-transcend-representation-with-wtc-911/ and March 18th interview with Steve Reich by Chris Vitiello: http://thethread.dukeperformances.duke.edu/2011/03/interview-steve-reich/. March 20th Raleigh, NC Classical Voice of North Carolina review by Jeffrey Rossman: http://cvnc.org/article.cfm?articleId=1801.

SHOW: http://dukeperformances.duke.edu/series/inventors/kronos. VIDEO PREVIEW: http://www.youtube.com/v/BhQfggqNuYM&hl. PRESENTER: http://dukeperformances.duke.edu/. VENUE: http://maps.duke.edu/building/15. OTHER LINKS: Kronos Quartet: http://www.kronosquartet.org/ (official website) and http://en.wikipedia.org/wiki/Kronos_Quartet (Wikipedia). Steve Reich: http://www.stevereich.com/ (official website) and http://en.wikipedia.org/wiki/Steve_Reich (Wikipedia).

EDITOR’S NOTE:

Jesse R. Gephart is a Raleigh, NC actor, director, and theater and music critic. This review is reprinted with permission from Triangle Theater Review. To start your FREE subscription to this newsletter, e-mail RobertM748@aol.com and type SUBSCRIBE TTR in the Subject: line.

To read all of Jesse R. Gephart’s Triangle Theater Review reviews online at Triangle Arts & Entertainment, click http://triangleartsandentertainment.org/author/jesse-r-gephart/.

So Real (2011)

Singer, actress Yolanda Rabun has released the debut single for her forthcoming CD entitled “So Real.”

The track is a nod back to the days of MFSB and Jean Carne or Phyllis Hyman and Norman Conners.

This release belongs in that same category of Sophisticated Soul. The voice of Rabun is accompanied by the Stanley Baird Group, whom she fronts. The mood is a slow groove and a mixture of Neo Soul and Smooth Jazz. You will like “So Real”.

Style: Smooth Jazz, R&B  Get it on iTunes

Review by: Howard Burchette

Before a near-capacity crowd, sprinkled with youngsters, former “ooh and aahh” Supreme Mary Wilson appeared with the North Carolina Symphony as part of the Fidelity Investments Pops Series.

Before Wilson made her dramatic entrance came a composition that was both contemporary and classic: “Savannah River Holiday,” by now-retired Brown University professor Ron Nelson. Lively with heavy oboe, this jaunty, upbeat town tune featured just enough brass and base drums to keep things thumpin’, plus cymbals crashing for kids of all ages.

An expansive song of Southern splendor, this rousing opener allowed the woodwinds to shine. As usual, conductor William Henry Curry kept the strings steady, and made sure to highlight the lilting xylophone as he took us for an audio stroll through Savannah on a sunny, gusty day.

Following this spring holiday, came music familiar to nearly all: John Williams’ “Adventures on Earth” from ET: The Extra-Terrestrial , a wholly captivating voyage to another world. Even after (nearly) 30 years, the beckoning starry score makes one want to close your eyes, point a finger, and recall the friendly frontier far, far away. By the time the sections build and the entire orchestra crescendos, we’re all on board: flying with ET, with just enough bells to keep the imagined sky twinkling. The flight is smooth, the musical journey through a feel-good film universe — first class.

To close out this half of the program, conductor Curry served up a sweet, “Ladies Only” medley by various composers. Mellow yet risqué, the martini-ready syncopation provided a pulsating beat and nightclub lighting to match. The 60’shimmy-and-pop assortment of silky, sultry songs made one long for that simpler Doris Day/ Robert Goulet era.

After intermission, out sauntered Mary Wilson, looking beautiful in flowing baby blue satin, quite a bit of baubles and glittery gloves. Her voice – while deeper and with a hint of rasp –is still caramel smooth; and what she lacks in movement, she makes up for in passion. Together with the symphony and her own back-up band, including an outstanding acoustic guitarist and grand pianist front ‘n center, Wilson immediately went for the familiar sing-along hits from her “days with Diana:” “Baby Love,“ ”Love Child,” “Without You,” and more. Interspersed with the oldies: Broadway standards and even a contemporary touch: Sting.

Two strong back-up singers provided perfect harmony for the evening’s highlight, the slow emotional ballads: “Spring is Here,” and after a grateful callout, Joni Mitchell’s “Both Sides Now.” But the ballad that brought the biggest cheer: “Body and Soul.” And for those who momentarily relaxed, Wilson invited any women brave enough to join her onstage to sing, clap and rock along with her. At least a dozen took her up on the offer, and were jubilantly swaying along to classic favorite: “Stop in the Name of Love.”

Between sets, Ms. Wilson turned serious, reflecting on her fellow soul singer, the late Florence Ballard, their legacy, slavery, grandchildren, current world problems, and stressing what could cure all: love.

When the full Symphony joined her once again, we were treated to rich, robust versions of “Someday We’ll Be Together,” and — after joking about the extreme similarities between the play and real life — “I am Dreaming,“ from Dreamgirls.

The entire audience left content, lighter, and ready to dance the night away, grateful for a supreme escape thanks to a fantastic orchestra, Mary Wilson, and a two hours of marvelous musical memories.

by Caren Ostrow

See what’s coming up next with your new NC Symphony at ncsymphony.org

Broadway Series South

The show blazed to life with a rendition of “Hark! The Herald Angels Sing,” and was followed by a few humorous words from the group’s founder, Chip Davis. Then the beautiful music continued, accompanied by festive, lively music videos depicting renaissance Christmas celebrations and more traditional images, such as lush, green Christmas trees. Jolly tunes melded seamlessly into softer, more melancholy songs with gentle lighting, making the evening the perfect way to get into the Christmas spirit. Highlights included a plucky version of “Little Drummer Boy,” a creeping “Faeries,” and a startlingly beautiful “O Holy Night.”

After a brief intermission, the group broke back into action by playing a colorful, high energy “Joy to the World.” The musicians, all clad in season-appropriate red shirts, kept up the energy with nine more songs, including a very cheery “God Rest Ye, Merry Gentlemen.” They also, much to the audience’s delight, did an encore performance of “Silent Night.” Even then, no one seemed ready for the show to be over, and the group was given a much deserved standing ovation.

Unfortunately, Manheim Steamroller’s enchanting tour was only in town for one night, but those who saw the show are sure to remember the evening for years to come. This performance was the perfect blend of old and new – everything one would expect from a Christmas show but so much more. To find out more about the tour, visit the group’s official website at http://shop.manheimsteamroller.com.

The crowd consisted largely of middle-aged couples and groups of women who clapped and sang along with the music. Men starred wide eyed at Caillat as she cutely hopped around stage like a pretty blonde bunny.  One of her guitarists shredded a skilled short solo on the song “Realize”. Her other dread-locked guitarist, Justin Young, shared chemistry with her that made me wonder if her relationship with him is more special than the ones she has with other members of the band. She introduced “Shadow” by telling the audience it was written for Caillat’s best friend who has been dating a guy who refuses to say that he is her boyfriend. “It makes me really upset”, she said. She then performed “Lucky”, which was co-written by Jason Mraz. Other well-known songs performed by Caillette included “The Little Things” and “Bubbly”.  During “Bubbly” many female audience members sang along with gusto while a man a few rows behind me shouted “Please shut up!”  Read on for more about him. Caillat sang “I Never Told You” which she says is about going back to someone that you know you should not be with. Besides her lovely voice and cute boots, what I loved most about her performance was the grey-haired man sitting in front of me who could not help raising the roof during her cover of Fleetwood Mac’s “Go your own way”.  It was a classic performance.

Sheryl Crow walked onto the stage waving. I did not recognize her at first with her long crimped blonde hair and her sparkly tank top. She looked as if she had been dressed by a teenager, but it made me happy to know that she feels so comfortable wearing cargo pants and sparkles together. Someone’s got to do it! One of the first couple of songs that she started with was “A Change Would Do You Good’. This reminded me of what I miss about her music. The blues influenced style of Tuesday Night Music Club and her second self-titled album is what got me hooked on her as a kid, but the new “mainstream” pop sound has found my interest lost. Thankfully, performed live her music holds more grit than the recorded versions. There is something lost in the recording and editing process that lets itself be known out in the open air. I think it’s her emotion. “100 Miles from Memphis” in my opinion is a lost cause and nothing can be done to make it a good song.  I have loads of respect for Crow for following her heart and doing what is true to herself, but I cannot say that it is true to me to be listening to her new work. She sang “Can’t Cry Anymore” and I loved it! The attitude and assertiveness behind that song was just what I wanted to hear. Her inner diva really showed through in that performance. She proposed getting down off the stage to eat fried chicken and drink beer with the folks seated in the lawn section. “Do you still smoke pot on the lawn?” she asked. “I’m too old for that”. A tall middle-aged bald man seated in the front row did not hold back on standing up, shaking his hips, and jumping around in circles. “I want what he’s on” said Crow. His drunken dance paid off later in the show when she got down from the stage and let him give her an elegant twirl.

Crow was not afraid to get a little political and sassy with the audience. “I’m sure you all probably know that I am not a Republican”, she said to lots of cheers. She went on to discuss her concern about local rallies while the “shut up” dude a few rows behind me repeatedly yelled “Just sing!”  Obviously, there were some Republicans in the audience. But even he, who could have walked out on a singer who uses up time to preach politics instead of perform their art, loyally stuck around to the end. He even took the opportunity to preach his own politics when Crow told a story about her recent meeting with the Dalai Lama. She asked the Dalai Lama, “How do you raise your kids to be peaceful?”  The man a few rows back shouted, “Believe in God!!!”  The Dalai Lama answered, “Be peaceful in front of them”.  Then she went into her song “Stop”. During her classic, “Strong Enough” she threw in the lines, “I’m looking for a man who is really divorced and not just separated”. Several women stood up and cheered. This made me wonder if the men they were with felt sheepish or proud.

Her bass player, Tommy Sims offered us a smooth blues interlude a couple songs before the band took the imminent ‘before encore break’. She returned with “All I Wanna Do”, and then sang her Jackson 5 cover “I Want You Back”. The grooves brought out some amazing dance moves in audience members. This is when the drunkenness really set in. Wild dancing commenced and it proved that no matter what where or how, a Jackson 5 song will always bring the party. Crow finished off the night with an absolutely beautiful gospel version of “I Shall Believe”. It was my favorite performance all night.



The Counting Crows Traveling Circus and Medicine Show featuring Augustana and new rap sensation NOTAR performed to a packed and exuberant crowd at Koka Booth Amphitheatre on Thursday, July 15. The show kicked off with all of the performers onstage rocking out to “Caravan.” Throughout the night, all of the acts continually came together to perform such hits as “Just Like a Woman,” and “Hanging Around.” While the collaborations seemed odd at first, the singers’ different styles melded surprisingly well together. This, combined with the seemingly random order of the acts, gave the show a relaxed and comfortable vibe.

Adding to this feeling was the delightful outdoor atmosphere of Koka Booth Amphitheatre. There really is no better place to see a show in the Triangle. No matter what seat an audience member had chosen, he or she was sure to have a good view of the stage, and the sound quality was excellent. From anywhere inside the amphitheatre, it was easy to hear the performers clearly.

Performer NOTAR captivated his audience with his high energy and powerful, lyrical imagery. While many of his songs were markedly those of a new artist, “Reach,” which he dedicated to a recently deceased aunt, was quite impressive. He really got into the act, working the stage and even ripping off his t-shirt at an intense moment of his performance. Notar was also one of the few performers to come out after the show and take the time to greet and take photos with his fans. “I have to say hello to my people” said NOTAR. http://www.myspace.com/notarmusic

It must also be noted that singer, Jason Gallagher, who harmonized with NOTAR on many of his performances, was a real show stealer. Gallagher, who is the singer for a band called Leroy Justice, (http://www.leroyjustice.com) had an amazing voice that had many concertgoers stopping and asking, “Wow, who is that guy?”

Augustana performed well for the most part. They were soulful and melodic without coming off as melancholy, and the whole crowd really appreciated their performance of the popular song “Boston.” While the band itself was on point for the duration of the show, lead singer Dan Layus appeared quite intoxicated toward the end. While this did not affect his performance greatly, it was noticeable and seemed to be a disappointment to many concertgoers.

The headlining act, Counting Crows, was amazing as usual. Lead singer, Adam Duritz, proved that he has not lost the fantastic stage presence that won him notoriety in the early 90s. Though the band did skip over their popular “Mr. Jones,” much to the chagrin of many audience members, they did play a fun encore of fan favorite “Rain King.” The encore also included “This Land is Your Land,” and both songs were sung by all of the performers as a nice wrap-up.

The tour will continue until August 2010. For more information about the tour and obtaining tickets for future dates visit http://www.countingcrows.com

Photos http://www.flickr.com/photos/triangleae/

http://www.flickr.com/photos/flyingrooster/sets/72157624385427601/

Last Monday night, the North Carolina Theatre, whose gala home-grown productions of big Broadway musicals compare favorably with many of the bus-and-truck tours that play the Triangle, staged BRINGING BROADWAY HOME: CELEBRATING 27 SEASONS OF BROADWAY, a spectacular benefit concert last Monday night, featuring effervescent performances by NCT alumni Clay Aiken, Lauren Kennedy, Sharon Lawrence, Terrence Mann, and Quiana Parler and a splendid orchestra led by frequent NCT musical director and conductor Edward G. Robinson.

Aiken is the 2003 “American Idol” runner-up and a multi-platinum recording artist who also played Sir Robin in MONTY PYTHON’S SPAMALOT; Kennedy is a rising Broadway star, who has played Betty Schaefer in SUNSET BOULEVARD, Fantine in LES MISÉRABLES, and the Lady of the lake in SPAMALOT; and Lawrence is a television star probably most famous for playing assistant district attorney Sylvia Costas Sipowicz in the ground-breaking crime drama “NYPD Blue.”

Mann created the roles of the irrepressible Rum Tum Tugger and the implacable Inspector Javert in the American versions of CATS and LES MISÉRABLES, respectively, as well as starred as the Beast in the original Broadway production of DISNEY’S BEAUTY AND THE BEAST; and Parler is a superlative African-American actress and singer who gave a career-making performance as troubled diva Effie Melody White in the 2008 North Carolina Theatre production of DREAMGIRLS.

Hometown favorite Clay Aiken opened the show with a rousing rendition of “Home” from THE WIZ, then delighted his legion of local fans with two saucy selections from his new album “Tried and True,” released June 1st on Decca: “Mack the Knife” from THREE PENNY OPERA and “What Kind of Fool Am I?” from STOP THE WORLD I WANT TO GET OFF. Aiken also added crowd-pleasing performances of “This Is the Moment” from JEKYLL & HYDE and “Those Magic Changes” from GREASE, and sang dynamic duets of “Last Night of the World” from MISS SAIGON with Quiana Parler and “In Whatever Time We Have” from CHILDREN OF EDEN with Lauren Kennedy.

Another highlight of the evening was the delightful reprise of “What Do the Simple Folk Do?” from CAMELOT by Terrence Mann and Sharon Lawrence, who played Arthur and Guenevere in NCT’s very first production in May 1984. Mann also reprised his role as Inspector Javert with brio as he sang “Stars” from LES MISÉRABLES, and his vibrant version of “Where’s the Girl?” from THE SCARLET PIMPERNEL also earned applause.

From the moment she sashayed onstage to sing “Popular” from WICKED, wearing a rhinestone tiara and a purple boa over her little black sequined and fringed dress, with a white sash emblazoned with “Raleigh’s Own” printed on it tied diagonally across her chest, Raleigh’s own Lauren Kennedy OWNED the Raleigh Memorial Auditorium audience lock, stock, and barrel. Her perky performance continued with vivacious versions of Jason Robert Brown’s sassy “I Can Do Better Than That” from THE LAST 5 YEARS, Fantine’s (and Susan Boyle’s) showstopper “I Dreamed a Dream” from LES MISÉRABLES, the wistful “Send in the Clowns” from A LITTLE NIGHT MUSIC, and “Hold On” from THE SECRET GARDEN.

Sharon Lawrence served as an informal mistress of ceremonies and contributed a charming version of “Shy” from ONCE UPON A MATTRESS, and Quiana Parler’s solo on “What I Did for Love” from A CHORUS LINE sparkled. But even if Clay Aiken was the evening’s most flamboyant showman, his erstwhile singing partner Quiana Parler one-upped Aiken and the rest of this stellar cast with her simply fab-u-lous rendition of “(And I Am Telling You) I’m Not Going” from DREAMGIRLS. After that next-to-last number, the company’s grand finale of “Imagine” by ex-Beatle John Lennon seemed anti-climactic.

All in all, BRINGING BROADWAY HOME was a bracing program of music and reminiscences in which backstage tales were told and North Carolina Theatre founder and head honcho De Ann Jones and her son and successor, Wally Jones, were given their due. NCT is a shining jewel in this state’s cultural crown and, for one magical evening, a fabulous quintet of NCT alumni, emphatically demonstrated how excellent this critically acclaimed regional theater is as a springboard to show business fame and fortune.

• SHOW: http://nctheatre.com/theatre/bringing_home_broadway.html.
• SHOW BLOG: http://northcarolinatheatre.blogspot.com/2010/04/bringing-broadway-home.html.
• PRESENTER: http://nctheatre.com/theatre/.
• VENUE: http://www.progressenergycenter.com/.

OTHER LINKS:

• Clay Aiken: http://www.clayaiken.com/ (official website), http://www.ibdb.com/person.php?id=470642 (Internet Broadway Database), and http://www.imdb.com/name/nm1341750/ (Internet Movie Database).
• Lauren Kennedy: http://www.laurenkennedy.com/ (official website), http://www.ibdb.com/person.php?id=70340 (Internet Broadway Database), and http://www.imdb.com/name/nm0448171/ (Internet Movie Database).
• Sharon Lawrence: http://www.sharon-lawrence.com/ (official website), http://www.ibdb.com/person.php?id=73954 (Internet Broadway Database), and http://www.imdb.com/name/nm0005130/ (Internet Movie Database).
• Terrence Mann: http://www.ibdb.com/person.php?id=68216 (Internet Broadway Database) and http://www.imdb.com/name/nm0542994/ (Internet Movie Database).
• Quiana Parler: http://www.imdb.com/name/nm2161612/ (Internet Movie Database).

Following Morris’ performance, the long awaited Michelson took the stage, and she proved to be every bit as fun and charming as her videos imply. Not only did she do an impromptu rendition of Lady GaGa’s “Poker Face,” but she also did a seemingly well practiced stand-up comedy act in between songs. While newer fans of Michaelson might have preferred less talk and more music, die-hard fans seemed to be quite impressed. Raleigh resident Carolyn Elliot, a self professed Michaelson fanatic, gushed, “I love Ingrid’s sincerity and how genuine she is about her music. I love how real of a person she is. She just inspires me.” Most of the crowd seemed to share Elliot’s sentiments. They sang along with almost every tune, including, of course, the famous “The Way I Am”. Most music buffs would have to admit, however, that Michaelson’s performance of “Die Alone” was far superior and much more moving than anything else in her set.

In short, the concert was a big success. People of all ages flocked to Lincoln Theatre and willingly stood and cheered through Michaleson’s entire set. Though most of her fans appear to be women, there were a few men in attendance. In fact, fan Matthew Baugh, sporting a Michaelson t-shirt, was happy to say, “I love Ingrid so much. She is just so soulful and has such a great energy.” All in all, this was a wonderfully enjoyable event perfect for the true lover of soulful, inspired and cleverly quirky folk music. For more information about Ingrid Michaelson or to purchase her latest CD, visit http://www.ingridmichaelson.com.

Gary Mullen is not only a remarkable soundalike for Freddie Mercury, but he is a veritable human dynamo as he prances and preens and pirouettes while delivering the now-familiar lyrics to Queen’s greatest hits, such as “Killer Queen” (1974), “Bohemian Rhapsody” (1975), “Somebody to Love” (1976), “We Are the Champions” and “We Will Rock You” (both 1977), “Crazy Little Thing Called Love” (1979), “Another One Bites the Dust” (1980), “Under Pressure” (1981), and “Radio Ga Ga” (1982) — no relation to current American pop tart Lady Gaga (born Stefani Joanne Angelina Germanotta in 1986 in New York City).

From its up-tempo opening numbers (“One Vision” and “Seven Seas of Rhye”), ONE NIGHT OF QUEEN was a hit parade of classic Queen numbers, performed with panache. Then, when Gary Mullen & The Works’ lead guitarist David Brockett unleashed his first scorching solo on “(It’s a) Kind of Magic,” fire flew from his fingertips; and all the rest of the show was like a rock concert. Bass player Billy Moffat and drummer Jonathan Evans provided a lively backbeat, and keyboard player Malcolm Gentles added animated accompaniment, especially on electric piano; but it was vocalist extraordinaire Gary Mullen and fiery guitarist David Brockett who created a raging rock inferno.

The rest of the first set included a robust rendition of “Somebody to Love,” a vibrant version of “Under Pressure” that brought the audience to its feet, and a rowdy audience singalong on “Another One Bites the Dust” — plus “Save Me”; “Killer Queen”; “Now I’m Here,” with guitar pyrotechnics by Billy Moffat once again revving up the crowd; and “Don’t Stop Me Now.”

The second set included crowd-pleasing performances of “Tie Your Mother Down,” “Keep Yourself Alive,” “Fat Bottomed Girls,” “Love of My Life,” and “Too Much Love Will Kill You.” Then a rousing vocal by Gary Mullen on the 1957 Elvis Presley hit “Jailhouse Rock” — which Queen performed as the opening song on its 1980 tour of North America — poured gasoline on the audience’s fire; and incendiary interpretations of “Bohemian Rhapsody” and “Radio Ga Ga” whipped the crowd up even further.

ONE NIGHT OF QUEEN ended with a trio of terrific encores of ” The Show Must Go On,” “We Will Rock You,” and “We Are the Champions,” which further delighted the Broadway Series South audience and left them hoping that the series will bring back ONE NIGHT OF QUEEN, in the near future, for a more prolonged sojourn in North Carolina’s capital city.

SHOW: http://www.onenightofqueen.com/. PRESENTER: http://www.broadwayseriessouth.com/. VENUE: http://www.progressenergycenter.com/page.php?mode=privateview&pageID=21. OTHER LINKS: Queen: http://www.queenonline.com/ (official website).

by Robert W. McDowell

Robert McDowell is editor and publisher of Triangle Theater Review of Raleigh, NC. This review is reprinted with permission from Triangle Theater Review.

E-mail RobertM748[at]aol.com to start your FREE subscription to this weekly e-mail theatrical newsletter.

The much anticipated and awaited U2 360 Tour came to Raleigh this weekend and rocked the Triangle.  Under a beautiful full moon and starlit sky, the band played all their major hits including new and old – Get On Your Boots, Mysterious Ways, Beautiful Day, Magnificent, New Year’s Day, I Still Haven’t Found What I’m Looking For, Vertigo, I’ll Go Crazy If I Don’t Go Crazy Tonight and Sunday Bloody Sunday.   For an outdoor stadium show, the sound was perfect, and U2 gave the concertgoers an extreme show.

Only a band with the giant reputation of U2 could pull off a concert and not be upstaged by the stage — a 164-foot tall spaceship with showy lights and a 360 video wall that was used to communicate visuals creating a spectrum of emotions fitting with each song — the band during their most playful moments, beautiful colorful abstract images, violence and blood in the streets of Iran, and the strong words of Bishop Desmond Tutu.    The stage was spectacular—and in the words of Bono, “created intimacy on a grand scale.”

"Walk On" dedicated to Aung San Suu Kyi

What separated U2’s concert from any other you might have ever seen is Bono’s dedication to human dignity and rights.   He dedicated “Walk On” to Aung San Suu Kyi, the democratically-elected leader of Burma who was overthrown by the military and has been under arrest for almost 20 years.

Bono is surely one of the greatest musicians and social activists of our time.   He does so much more than sing great rock tunes and put on a great show, he feels a deep responsibility to use his talents to raise awareness of global challenges and mobilize people to respond out of concern and love.

Amazing Grace

Whether it’s rooted in religious teachings, or just a more highly developed social conscience than most, Bono’s mission is simple – he uses his celebrity, fame, and music to raise awareness of how life is for others around the globe.   Born of Irish-Catholic traditions, Bono takes on the role of leader in teaching us about poverty, injustice, oppression and hate – and reminding us that God demands we do something about it.  U2’s performance had many religious undertones.  Bono delivered a beautiful acoustical rendition of Amazing Grace, and a cross topped the extravagant stage setup.

Overall, U2 delivered a beautiful evening to everyone at the show.   Not only was the use of the concert to deliver a strong social message uncommon, it was one of the rare rock concerts free of foul language and alcohol, giving everyone there an uplifting experience they will never forget.  Hopefully Bono inspired a few there to take the challenge and help change the world one community at a time.

As their hit “Get on Your Boots,” goes….

“Here’s what we gotta be: love & community

Laughter is eternity if joy is real

Photos by Matt Morrow

Kid Rock and Lynyrd Skynyrd pack the house performing to another sold out crowd in the Time Warner Cable Music Pavilion at Walnut Creek last Friday, July 24.

The Rock and Rebels Tour (I say it “Rockin’ Rebels”) started out hot with Black Stone Cherry. And it just got hotter when Lynyrd Skynyrd to stage, and even hotter when Kid Rock brought the house down.

Southern rockers Black Stone Cherry performed six songs with artful precision including “Things My Father Said,” from their second album “Folklore & Superstition,” BSC launched a uniquely touching way for fans around the world to celebrate their own fathers. The band calls on fans to submit photos of their dads for the song’s video, and is now expanding the concept.

With this widget promotion, fans can upload up to four of their own photos and add a personalized greeting before sending the video digitally to their loved ones. http://blackstonecherry.com/

Legendary Lynyrd Skynyrd pumped up the crowd with an astonishing sing along fest, ripping through hit after hit for ninety minutes it’s no wonder this classic southern rock band is tops in the Rock and Roll Hall of Fame. Opening with “Skynyrd Nation” and crisply going into “Saturday Night Special” the band served tasty southern treats that satisfied your appetite and paid tearful homage to band members who have passed. To leave no audience begging for more LS presented a sweet course of “Freebird” lasting 15 minutes with solos paralleling it’s album cut. http://www.lynyrdskynyrd.com/

And it can’t get hotter than when Kid started Rockin’.

Kid Rock is a hot entertainer.  The Kid believes in the power of music and shares his eclectic selections with his audience creating his own unique niche.  You came for rap, your gonna hear a little country mixed with rock and soul and be satisfied with every lick. Working the stage and the crowd Kid Rock engages all parts of the audience and will perform on a variety of instruments.  My favorite transition, Kid Rock on piano for “Pain Train” brings the song to a slow end as the light fades to blackness. With only a breath of pause a mechanical voice buzzes out one word, “Cowboy“, and the Kid was rockin’ and boppin’ all night long. http://kidrock.com/

The maximum capacity crowd was happily standing, cheering, and singing for all three bands and Time Warner Cable Music Pavilion at Walnut Creek provided a great music experience from sound quality to traffic control.

Trifecta

The Will McBride Group’s Trifecta is simply a pleasure to listen to. Between original songs with soothing vocals, takes on standard tunes like “Sir Duke” and “Take the A Train,” and well-placed and ear-catching instrumentals, Trifecta is a winning combination of cool funky grooves that engages the listener.

The group’s sound is smooth with strong rhythm and a well-grounded core. I hear a neat combination of heated licks and grooves combined with some smoother jazz harmonic progressions, which is new and pleasant to my ear. This combination may be in the early stages of developing into a truly unique sound that can set this combo apart from others. Another aspect of Trifecta is the energy and drive behind the music. As mentioned above the group’s music is relaxing and engaging, which I believe may be derived from their deliberate use of energy. For example, the solo and instrumental sections are very lively and free-flowing, but do not overpower the rest of the music.

The Will McBride Group has the power to engross listeners of different musical backgrounds from swing to funk to smooth jazz. Whatever style you enjoy, one listen to The Will McBride Group’s Trifecta will make you want to hear more!

Matt Morrow, Triangle A&E

About The Will McBride Group

The Raleigh/Durham-based Will McBride Group is a guitar/bass/drums trio, performing a unique brand of jazz, funk and pop at over 50 shows per year in central NC.  The amazing polyrhythmic styles of percussionist Chris Conley, coupled with the solid, pocket groove of bassist Jeff Hatley comprise the dynamic foundation upon which guitarist Will McBride fluidly completes the fusion of jazz, funk and pop styles that “satisfy your cool side…and move your backside!”

For more information, contact:
Will McBride
919 602-6086
Email: willmcbride[at]nc.rr.com
Web: www.myspace.com/thewillmcbridegroup.