Reggae Month launched

There was music too, of course, and lots of speeches and conversation, but this was the visual highlight of Tuesday night's Reggae Month 2015 Media Launch in Kingston. I'll have updates and reports on reggae Month events as they unfold in February

Moon over Tarrus: 2014 Christmas Concert

A city battered by Chik-V, price crises and various other trials would no doubt welcome the offering presented by Tarrus Riley, aka Singy-Singy at Kingston's Emancipation Park on the "eve of Christmas Eve".

With a crescent moon floating over the lower New Kingston skyline and the recently-added imposing backdrop of the soon-to-be-finished Marriott Hotel, Riley took the stage shortly after a typically sparkling opener from the ageless Karen Smith, who practically soared through a number of pop songbook selections ranging from Aretha Franklin ("Respect" "Natural Woman") to the seasonal "Have Yourself a Merry Little Christmas" and the indigenous "All For Jesus".

Clad in black, robustly contrasted by martial red high-tops, Riley brought a palpably fresh energy to his now familiar repertorire, and the audience was more than ready to receive him, both by voice and in person as he waded through the packed aisles, greeting, touching and singing.

His last tune in heavy rotation had the title "Where Were You" and singer Bijean Gayle answered in fine fashion, ably supported by a youthful and exuberant aggregation known as the High Point band. They delivered a new single "Ghetto Rock" (to be the lead-off on a soon-to-be-released album) and the imposing Gayle proved his showmanship by stepping off the stage ot pick out a young miss out of the front row  as a song and dance partner.

Another up-and-comer, D-Medz was taking the crowd through the verses of his anthem. "Champion" on our departure, with lots more solid entertainment promised.

A welcome and worthy Christmas gift to the people.

C2W is now "all-rights" CEO speaks of impending diversification, path to profitability

"We  still believe that publishing is one of the best business opportunities in the entertainment business, but the properties that we hold, the copyrights, they do take time to develop, so we are re-aligning ourselves toward growing revenues and profitabliity in the short term"

With those words, Ivan Berry, CEO of embattled music publishers C2W Music set the stage, at the   Knutsford Court hotel in Kingston last weekend, for the company's transition into the now oft-mentioned "360 Model" in that it will, in addition to its core business, C2W will enter the artiste management business and also strengthen its existing sub-publishing collection deals with global music labels /publishers BMG and Warner-Chappell. "We are now an 'all-rights company'" Berry stated, but with a proviso that event promotion will not be a significant avenue of investment for the company. there are, however, plans to revive the Songwriting Camps, which while draining cash, also produced, according to the exec, much of the company's copyrights bank.

Berry, a former BMG exec, spoke passionately, candidly and at length about the company's vision, trials and prognosis. C2W presently holds some 900 copyrights, a few of which have begun to turn some much-needed revenue for the company. Notable among them are the tracks "Richest Girl" by Etana, and "Without A Woman" which is the lead single on the rising new album by Maxi Priest (featuring Beres Hammond). Another C2W property, "Supersoaker" has been recorded by soca star Skinny Fabulous in tandem with top Romanian singer, Andreea Balan.

The company, according to both Berry and President Derek Wilkie, did turn a profit for the 2nd quarter of this current year, and projections are for the third quarter to be similarly profitable.But they declined to give actual figures, and clearly, it will take many quarters of profit to wipe out the deep red stain on the company's books to date, not least a USD620,000 loss for the year just ended and a liabilities over assets ratio of roughly 9:1

The AGM also wlecomed new directors, drumming legend Sly Dunbar and Clyde Mckenzie, the latter present for part of the meeting

THIS REVOLUTION NEED NOT BE TELEVISED

Gungo Walk Festival 2014

As new roads provide a tool to strengthen and extend commercial hegemonies, so do mutli-discipline entertainment/cultural events provide a tool to extend and renew a Jamaican cultural hegemony which, while still strong, has been buffeted over the last decade or so.

In that respect, the 2014 renewal of the Gungo Walk festival, on the campus of the Edna Manley College of the Visual and Performing Arts this past weekend, could well be regarded as a cultural super-highway awaiting pavement.

Except that the organizers are thankfully, not waiting for whatever covering may on offer from officialdom; truth be told, its foolhardy to really expect the State, locked into admittedly stale yet still lucrative conventions, to nurture the seeds and saplings of its own destruction, or at least deconstruction.

But, the above is political discourse, a sideshow at best. The main event is every bit worthy of attention and support, from the “soul-Rasta” stylings of Mackeehan – joined artfully for a brief yet intense moment by Duane Stephenson, to the “modern dub” of Don Z, who best managed to blend the roots sensibility with a genuinely roughneck DJ delivery, aided and abetted by some extra tasty riffs from the accompanying Dubsmart band. One can hear the legitimacy of the heritage in the rendition of Peter Tosh’s “Steppin’ Razor” by Alexandra Love and the Warriah Love band.

And it shines through in the unexpected yet more than welcome revelation that is Shanique Brown, aka GiRL. Nurtured at Ardenne, she and an able quartet of young men took command of the stage and of the audience’s affections with such unapologetic aplomb that by the end of her bouncy, sing-along original “Press Play” (preceded by the deceptively simplistic “Love” there was little doubt about the future health of Jamaican popular music – at least nt from a live performance viewpoint.

There was also Maria Lindsay. The 17-year old Campionite, largely self-taught, delivered of herself a well-modulated yet near epic (in the best sense of that overused term) exposition of musical talent that endeared her to the growing audience gathered on the school ground, doing two originals (including “Wish” already in modest radio rotation) that wiped out her tentative start with Bob Marley’s “Redemption Song”.

The festival also affirmed that the present generation of young Jamaicans (whichever letter you want to assign them) may be closer to actual revolution than might be otherwise thought. They are certainly on point in terms of acknowledging the Africanness which the oligarchy – with Government’s tacit approval – has sought to deny while exploiting for decades.

For proof, look no further than the progress of capoeira, that mythical Afro-Brazilian dance of war and of identity, in Jamaica. Led by  maestro Eckart, the capoeira troupe, ranging in age from prep- schoolers to adults, showed, in their mix of athleticism and angularity, the ongoing assimilation process.

Assimilation worked in reverse as well: another Brazilian import, singer Soraya laid down a vibe of funky grace, clad in various iterations of her nation’s colours while going through reggae both classic and contemporary, in Jamaican as well as in her native tongue, the accent serving only to sweeten the effect.

And there was much more than music on offer -  dramatic presentations, dance, film all took their concurrent and independent turns for the audience’s attention and they in turn appeared happy to be made nomads, shuffling from stage to stage and room to room in search of the next enjoyment. In addition to festival merchandise, there was also a genuinely eye-catching array of handcraft items, and the near ubiquitous (but definitely welcome) I-Nation Books.

So if, in fulfilment of the late Gil Scott-Heron’s now iconic statement, “the revolution will not be televised” then we need not worry too much (though the publicity might loosen a few purse strings). It will be phone-shared, Googled, Facebooked, Instagrammed and tweeted far and wide, and even without those interventions, this, is clearly a movement whose energy will not be inhibited nor quenched.

Big and broad, Gungo Walk!

"Fyah and Ice" for Keesing renewal Aug 23

Comedian/radio host (not to mention LIME pitchman) Donald "Iceman" Anderson and roots reggae rockers Raging Fyah are among the smokin' entertainment acts on the bill for the latest renewal of the universally excellent Keesing Live series, which is set for this Saturday (Aug 23) at the Alternative Music HQ on Keesing Avenue.

Also appearing will be Jermaine Blake.

Raging Fyah, who released their sophomore set "Destiny" earlier this year, are recently returned from a European tour.

Hamlet “To Be” in Jamaica Aug 26

“Hamlet” contains arguably the most oft-quoted of William Shakespeare’s myriad quoted lines.

: “To be or not to be. That is the question”

And simple as it may sound, that is the question that has occupied succeeding generations of dramatists, as well as legions of actors, critics, psychologists, and the merely curious for centuries.

Similarly, the title role of "Prince of Denmark" has been make-orbreak for many of the world's greatest actors.

Now the UK’s Globe Theatre Comp

any will give Jamaican Shakespeare aficionados and those prepping the text for Lit exams the opportunity to witness the full scope of the bard’s genius come August 26, with a special fund-raising performance of Hamlet, at Kingston’s Little Theatre.

The Jamaican production is part of a worldwide tour mounted by the venerated company in honour of its iconic associated, whose birth was noted earlier in the year.

A Fundraiser for the Arts Foundation of the EMC, the performance will cost 5K per ticket, and will be under the patrojnage of British High Commissioner, H.E. David Fitton.

The Globe Compant production is supported by  First global Bank

From Devon Court tothe Dub Club: 2 ends of a musical spectrum

With a an almost gangly appearance and a high-top fade that looked more like a fez, pianist Mikhail Johnson seemed an unlikely prodigy approaching the instrument inside artist-curator David Boxer's drawing room-cum-courtyard on Sunday evening.

But the youngster,  hailing from the hills of St James and having already sojourned at Herbert Morrison high and NCU (bio-science major) was a picture in fluidity as he masterfully interpeted pieces by Beethoven, Bach, De Bussy and - most loved by this  writer - Rachmaninoff.

His calm aplomb earned him sustained applause, two encores, and rapt attention of the varied audience in after-show conversations. Though he has studied with the likes of Orett Rhoden and Kimberly Cann, ists current teacher David Johns to whom much of the kudos should go.
As he prepares for the Grade 8 Level exams of the Royal Society of music programme, its off to Darliston Westmoreland next for the young man whose name will long resound in concert halls and the minds of music aficionados worldwide. Remember, we told you.

Also in the hills, this time above the eastern end of the Liguanea Plain, - with the city stretched regally below

the roots sound system jam session Kingston Dub Club. The pungent aroma of fresh cannabis billowing in the night air and heading over the recently added deck deck and out onto the sparkling cityscape, carried on the endless waves of classic drum-and-bass, "rockers" great and obscure.

And despite a slightly torturous nightdrive (five minutes outside of Papine), a tremendous atmosphere and a diverse and growing mix of "fans" and the curious coming from all corners, we left the irie gathering in full steam and climbed the demanding brick-step trail back up the ravine to the road

Once you know where to look, Jamaica's got it all

Musically, a Solid Alibi: Kathy Brown & Friends

Even if the Barron's courtyard in Kingston was filled to overflowing Sunday night, there was certainly and appreciative spirit among the faithful who gathered for the most recent renewal of the Alibi 4th Sunday Jazz Jam.

And there was lots of good music to appreciate. Keyboardist-composer Dr Kathy Brown liberally sprinkled her own fine tunes (Spirit, By Sunday) amongst some equally tasteful covers. "Satta A Massa Gana" segued neatly but robustly into "I Shot The Sheriff" There is of course a trend for Jamaican instrumentalists to put their spin on Bob Marley Tunes (indeed, he remains a global musical preoccupation) and several Bob Marley gems went down, this time in the (appreciative) presence of long time Bob Marley engineer Dennis De Menace Thompson.

And Brown had plenty of help in her quest. Drummer Desi Jones and the always improving Paul Smiley Madden rounded out a robust rhythm section that was further strengthened by the addition of Stephan on percussion and - all too briefly - trombonist Pesso - who did a nifty vocal turn on Fly Me To The Moon.

In between sets there was the always impeccable selections of Merritone's Monte Blake, who remains a fount of knowledge and a supreme encourager of quality.

vocal fans were also in for a further treat later in the night. The CyberSka man, David Madden, normally heard on both trumpet and vocals, was time out content to add lyrics to a sprightly arrangement of eastern Standard Time. He then made way for the evening's highlight. Ellan Edwards-Neil, very much with child, who delivered a silky Besame Mucho in tribute to former colleague and well-known bon vivant Walter Campbell. Her pinnacle however, came with an exquisite delivery (musical and vocal) of Jimmy Cliff's I Can See Clearly - with the bridge especially setting a new standard for intelligent and inventive interpretation.

The music went on for a wee bit after that, but this writer was already sated (and with a young one of my own to help raise) departed a very happy camper, hoping the series my have the longevity and the popularity it deserves.

Bacchanal Time: Smirnoff Shakes, tail feathers and more

Under the theme Conquest and Surrender, the Bacchanal organizers officially premiered the costumes and calendar fro this year's renewal of the annual soca revellry extravaganza  - which officially begins March 7 at the New Mas Camp at the Knutsford Court.

The launch featured several of the beverage sponsors staging sampling booths: Appleton, Pure Country/Fresh and Smirnoff. The latter produced in this writer's opinion the night's best concoction - the Smirnoff Blueberry shake, made in conjunction with relative newcomer Island Shakes.

In addition to the anticipated Friday Fetes, Beach J'ouvert and Scoacise, this year will feature a DJ clash between Djs Smoke, Sanjay and Richieras

Our camera caught the following colours - and shapes

we'll have more pics on this site over the weekend - watch this space

Nina does Nina and More at Regency Bar

The counterpoint garland in her hair(going against her flowing back outfit) suggested Billie Holliday, but lounge singer Nina Karle delivered a sprightly cover of Nina Simone's "My Baby Just Cares" in addition to the obligatory Bob Marley numbers (it's February, after all)  during her stint at the Jazz Thursdays at the Regency Bar and Lounge at Terra Nova

Joining the vocalist in her exploits were Dwayne Livingston on  bass
pianist Anders Lopez and James Ferguson* on  drums

The repertoire, delivered with consummate skill, and with an Airy sound and  languid intervals also encompassed Andy Williams' trademark "Moon River"

the mood was extended with "The Way You Look Tonight" and completed with the bossa nova classic "girl from Ipanema", delivered vocally as the "boy from Ipanema" as well as Randy Crawford's sultry classic "Almaz" which got the bass-heavy treatment with a neatly ascending piano solo from Lopez to boot.

Then Norah Jones' "Come Away With Me"

Of course, one good "Jones" deserves another, so "Don't Know Why" followed.

For the Reggae King Tribute to Bob Marley, the group did "Is This Love" interspersed with freestyle quotes from "Jammin'"

And capped with "Redemption Song"

After the interval, they returned with a booming, funky yet swinging "Fly Me To The Moon"

"Summertime" followed in similar mode, if at a slower tempo

Killing Me Softly

Ska-inflected "My Baby Just Cares For Me"

Back to Marley, via Lauryn Hill, with "Turn Your Lights Down Low"