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BUNNY WAILER
December 14, 1997
Beacon Theater
New York City
"He's
an original -- we're never gonna see another like him," said aman to
his companion and everyone else within earshot after BunnyWailer's Sunday
night show at the Beacon.Bunny is the genuine article, and so was his performance. His name isevocative. Neville O'Riley Livingston, his born name, is that of adignified elder statesman. Delivering short sermons in his expressivevoice, he was the sage patriarch. The nickname Bunny? That's theplayful, beloved friend exuberantly reaching out to shake and high fiveevery hand offered, all the while singing, dancing and wearing hisradiant smile. Finally, the name Wailer. A legendary name. Marley, Tosh,and Bunny -- the three innovators who brought Reggae to the frontlines.Bunny's the sole survivor -- last of the Wailing Wailers, keeper of theflame. Called the quiet and shy one, he's the one who disliked touring(he was last here in 1986). He's creative and courageous -- willing totake onstage risks in order to communicate his message and uplift theaudience.
All
those qualities were in evidence in an hour and a half showdivided into
two parts. Bunny clearly wanted to go longer, but wasstopped by what he
wryly referred to as "the curfew they have imposed." In person
he seems surprisingly small (perhaps because his musicalstature is so great).
Wearing his signature lion's head headband and asweeping white robe trimmed
with red, gold, and green and a column ofembroidered images -- Selassie,
Africa, the Lion of Judah, a star ofDavid -- down the front, he made his
entrance quickly, and sat downbehind a drum center stage. He looked like
a visiting dignitary (whichhe was). But one caught flashes of sequins at
his sleeves, and glints ofsilvery boots. Though Bunny looked regal, he had
his shiny dancing shoeson, and a big thing planned for later.He began with a drum chant exalting Jah Rastafari -- a powerful benediction for the evening. Beaming, he rose and opened his arms inwelcoming inclusion saying that he saw "all of Reggae's family" inattendance. Then he launched into "Rastaman," "Blackheart Man" and"Armagideon." Time hasn't altered Wailer's rich, unforgettable voice(maybe his aversion to touring is a blessing in disguise, sparing hisvoice from wear-and-tear). Few artists can match his purity of tone orincomparable phrasing. Recently he said that singers like the Plattersand Drifters influenced the Wailers, and that he grew up in a"Churchical" environment. Wailer uses Reggae riddims as a foundation,then moves effortlessly between musical genres (even doing some bluesyscatting). Kneeling, arms outstretched to the heavens, he sang anintensely soulful "Rise and Shine." The band uptempoed, and Wailer beganan ecstatic, rollicking "Liberation." The fine band (including a hornsection) provided a strong, rootsy sound; the Psalms, a male trio, addedharmonies. He explained "Bald Head Jesus" ("Jesus was a dreadlockNazarene"), then sang it. When he came to the mid song interpolation of"Give Me that Old-Time Religion," the show nearly stopped. There wasBunny, dreads streaming past his waist, eyes closed, shoulders bobbing,palms outstretched, and voice soaring. Gospel and "Churchical" to themax; the Beacon became a church, Jah B. the preacher. The first partended with tributes to Marley and Tosh including "No Woman No Cry" and"Legalize It." The vibes went up and there was no stopping Bunny; hisartful performance built the energy and rode the momentum.
Bunny disappeared;
the first part ended. When he skipped back outshouting "move your dancing
feet!" and wearing a glittery silver lamesuit with those shiny boots,
the crowd roared with delight. Out strutteddancers, and Bunny's Dance Party
began. Even when singing serious songs,as in the first half, Bunny marries
meaningful words with buoyantmelodies and bubbling riddims. When he moves
to the dance floor, hisspecial brand of joyous ebullience comes to the fore.
He did "DanceRock," "Rootsman Skanking," "Rock
'N Groove," and "Cool Runnings."Everywhere you looked people
were swaying and smiling. Bunny bopped, didflying push-ups and finally leapt
in the air and clicked his heels.Suddenly, houselights came on and the MC
appeared. Bunny -- still arebel at heart -- began another song. But then
the stage lights came on.In a performance filled with memorable moments
and images, what happenednext was especially memorable and endearing. There
was the MC, gentlytrying to guide Bunny off, while he resisted ("it's
only 10:30!"),though finally he surrendered. Then, just before vanishing
backstage, heturned back, waved goodbye and shouted over his shoulder, "Until
we seeone another again!"This was a great concert. And as the song goes, "long time we nuh haveno nice time. . ." It was lovely, Bunny. You delighted, enlightened andmoved us. Next time, don't stay away so long.
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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