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TONY REBEL, Everton Blender, Ras Shiloh,
Sugar Black & Lebanculah, Aaron Silk and Honeycomb
November 24, 1997
Tramps
New York City
The
MC for the Tony Rebel & Friends show bemoaned the rather small turnout
(it was the first really wintery night, but still. . . ), but promised those
in attendance that when the show was over, they'd leave feeling different
from when they arrived -- that they'd be transformed. What he promised,
Rebel & Co. delivered. The "Flames Crew" warmed the hearts
and souls present; when you walked out the door at evening's end, you no
longer felt cold. Except for the young DJ who opened the show, all the performers present appeared on the superb Rebel-produced LALABELLA album, so all evening, during each set, the tight Sane Band played the infectious "Why Be Afraid/Jah is by My Side" riddim (the primary riddim on the record). Also, throughout the evening, each performer sang a song by the late Garnett Silk, whom Rebel mentored.
I hadn't seen any of these performers live, but anticipated an evening filled with beautiful songs and voices. And it was--the show featured some of Reggae's purest voices. Interestingly, the earlier acts nearly stole the show; when that happens, it makes for a memorable evening.
The second performer up was Honeycomb, a young singer who sings the plaintive cut "Hurt No More." Earnest, in white turban and red-patterned tunic, he sang and danced expressively through several songs, then joined the audience to support his bredren.
Next up were the duo Sugar Black and Lebanculah (both of whom later backed Rebel). Their harmonies soared. Watching harmony groups, you often notice that they check one another for their timing. Not these two. They sang, danced, and never missed a cue. Both have smooth voices, perfectly blended, and an engaging, polished stage presence. They performed a number of songs: their album cuts "I Saw Selassie" and "Oh Jah" as well as a lovely, re-worked version of "Let it Be" and D. Brown's "Here I Come." Their positive vibes and energy elevated the crowd.
Then
came Aaron Silk, who began his set singing off stage, which you can do only
if you've a unique voice, and his is. While it eerily recalls his brother
Garnett's, his voice seems slightly higher in timbre--a sweet, sweet tenor.
He sang a long set, including "The Right Path" from the album,
and an almost rock-and-roll version of his brother's song "Mama."
It was impossible not to feel deeply moved when he sang "Bless Me Jah,"
in which he sings of missing his brother and asks to be blessed so that
he "may see my brother" again. Silk performs with such emotion,
energy and urgency that he creates a magical connection with the audience.
A superb performance, that, in a sense, raised expectations for Ras Shiloh.
If there was a criticism of the evening, it might be that Ras Shiloh following Silk wasn't ideal, since their voices have some similarities, and both recall Garnett. Ras Shiloh, in a striking leather robe, performed with fervor, emotion, and power, but perhaps not as much vocal variety as Silk. His set was also shorter. Still, he's one of Reggae's bright new lights, and his performance of "Are You Satisfied" reconfirmed that standing.
After a short break, Everton Blender came on. A tall, thin, striking man, with staff in hand, he projected gravity and conviction, as well as gentleness on stage. He was backed by two soulful female singers, and in addition to "Lift up Your Head" and the beloved modern anthem "Ghetto People's Song," he sang "Piece of the Blender," as well as a gorgeous, stirring version of "Create a Sound." With his velvety smooth baritone and upful lyrics, Blender is symbolic of all that is enduring and inspiring in Reggae.
Finally, out bounced Tony Rebel accompanied by a formally robed man with an Ethiopian-style umbrella. To say that Rebel is a consummate pro on stage is not to diminish his artistic talent as both a conscious deejay, writer and producer. He's just so incredibly relaxed, affable and energetic on stage (performing as if the house was jam packed), that you really have to admire his skillfulness even as you rock to his rich, rhythmic voice.
He's a commanding figure, tall and robust, and his distinctive voice and deeayj style provided the perfect counterpoint to the singerly voices of the night. His medley of hits, particularly "Chatty, Chatty" and "Sweet Jamaica" ("trio-ing" with Sugar Black & Lebanculah), rocked the house.
Rebel's encore, "Why Be Afraid," wasn't a suprise, but his back-up singers were. He asked the crowd to sing the chorus, call and response style. Then he hopped off the stage, held the mike up to each of four audience members (all women), and in the spirit of the good vibes evening, each woman gamely sang a chorus. When he came to the fourth woman, he had the great fortune to enlist someone who was not only a singer but a singer with a big, Aretha-style voice. He urged her onstage, and the crowd went wild, buoyed by these two wonderful voices joined on such an uplifting song.
A word to the wise, then: we all assume that club shows usually begin impossibly late (though this one didn't)--particularly on work nights. But next time Tony & Crew appear locally, come out, support, and soothe your spirit with the music of this gifted group of singers of songs.
By Judy Hecker
Photos courtesy of Ajamu
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::
Sanchez :: Sugar Minott Dec 3, 2002 New York City ::
Jr Kelly ::
Frankie Paul ::
Sugar
Minott ::
The Meditations
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