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SING! A Cappella Performance, Sunday Night

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  • harmonetreporter@yahoo.com
    I had missed the first show on Saturday night getting into town so late, but everyone had been talking about Chanticleer and how awesome they were...The show,
    Message 1 of 1 , Jul 2, 2001
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      I had missed the first show on Saturday night getting
      into town so late, but everyone had been talking about
      Chanticleer and how awesome they were...The show, which
      also featured The Gas House Gang, a female group named
      Malaika, and one of my favorite gospel groups, Glad,
      was great all around, and everyone had raved about the
      show...so I was really looking forward to this show as
      I trudged the 4 blocks north from the hotel to the
      Andrew Jackson Hall in the beautiful Tennessee Performing
      Arts Center. The clouds threatened and I felt a few
      large drops of rain hit just as I reached the theatre,
      and hurried inside to find a large group milling around
      already, waiting for the show around the large concession
      area out in the lobby.

      I ran into several barbershop friends, but was on the
      lookout for Charlie Hill, who had an extra ticket I was
      buying from him. For the next 20 minutes I scanned the
      crowd, and just minutes before the sohw started I spotted
      him in the crowd, also looking toward one of the main
      entrance ways, hoping to spot me! I got his extra ticket
      and we headed in to the theatre as the lights flashed warning
      that the show was about to start.

      We entered from the back and walked across the back of the
      theatre to the far right side, then made our way down the
      far aisle down to row "F"...wow! We had really good seats.
      The place quickly filled, both the large orchestra section
      and the balcony seating that extended overhead and to the
      sides. The stage had minimal setting, wiht a few bar stools,
      microphones on stands, some scattered potted plants for
      accent, and a large white screen on which various light
      images were displayed.

      SPEBSQSA Executive Vice President Roger Lewis served as
      the master of ceremonies for this show, and got things
      going right away, after welcoming us and announcing that
      the show was also being webcast on the internet, thanks
      to the sponsorship of the AIC.

      The show had two acts in the firs half and two in the second.
      The first group, The House Jacks, actually found their name
      in the yellow pages of the phone book, listed under
      "Heavy Equipment Rentals"...they've been together since
      1991, and were the first a cappella group to employ a
      full-time vocal percussionist. True to their name, this
      group really "moved the house!"

      THE HOUSE JACKS
      ---------------

      Five men appeared, dressed in black slacks, shirts, and
      sneakers, grabbed mics of the stands and launched into
      a high energy vocal assault that got everyone's attention.
      Austin Willacy sang a high lead to the other four background
      vocals, with dreadlocked Bert Bacco swallowing his mic on
      the amazing low bass notes...one hand on the mic, the other
      in a mock bass guitar playing gesture at his hip. Halfway
      through this rocking number, however, Deke Sharon stopped
      the group and apologized to us for having his pocketed
      electronic pitch pipe set to the wrong pitch! They started
      over and the crowd didn't mind a bit.

      Their second song, "The Way It Makes Me Feel," from their
      first album, started and ended with a tight three part
      harmony that broadened with the background vocal percussion
      taking over in parts. Their finger snapping and pointing,
      their simple body sways belied the fact that their bodies
      were all coiled springs, agile and ready to bound across
      the stage at any moment. We in the audience were helpless
      as we noticed our toes tapping, fingers drumming on knees,
      heads bobbing in rhythm to the incessant, relentless beat.
      The light effects were in sync as well, going bright and
      dark in rhythm, changing constantly.

      Another song, "Meet The Band," featured Garth Kravits'
      electric "air" guitar riff ala Jimi Hendrix, Austin
      Willacy's beautiful clear tenor vocal, Bert's awesome
      rapid fire rifle shots of bass sound spat into the
      mic, a slick trumpet-like solo from Deke Sharon, who
      used his cordless mic as his "trumpet," cupping the
      far end with an imaginary mute as he vocally swapped
      between full and muted trumpet sounds. Wes Carroll
      displayed an amazing array of percussive technique,
      including snare drum, bass and everything in between.

      "Still By My Side" featured Garth Kravits' soaring
      high voice on pinging chords over a loo-ed background
      sway by the others. Beautiful!

      "Slide" was an audience participation song, breaking the
      audience into three sections and teaching us all a simple
      harmony line to sing. Fortunately there were a lot of
      singers in the crowd! The house rocked!!

      For their final song they put down their mics, clustered
      close together at the front edge of the stage and sang
      Carol King's "You're So Far Away." The entire theatre
      was dead silent so we could hear every delicious chord
      from the mic-less voices. The sweet silence at the end
      was broken with an instant standing ovation as the
      House Jacks waved to the crowd and smiled as they left
      the stage. Whew! What a start.

      THE EDLOS
      ---------

      MC Roger Lewis told of getting stopped by a policeman for
      a speeding ticket, and finding out that the officer was
      a music lover and singer...Lewis got out of the ticket
      by singing "My Wild Irish Rose" for the cop, who joined
      him at the tag! He sent Roger on his way with the
      admonition to "Have a great day, drive carefully, and
      keep on singing!"

      The Edlos were introduced as another California foursome
      and the first a cappella group to perform at The Grand
      Ole Opry. They appeared in monk's habits (reminded me of
      the old Brotherhood Quartet routines...I imagine that
      Brotherhood lead Mike Myers in the audience had the same
      thoughts) and opened with a haunting Gregorian style
      harmony, their faces covered with their hooded robes
      as they stood at the mics, hands together in prayer.
      At the end they quickly shed their robes to reveal
      jeans-wearing redneck-types, baseball caps askew and
      broad goofy grins as they broke into a goofy number
      about an 18-wheeler. Compared to the House Jacks, who
      seemed to focus on awesome vocal styling, The Edlos
      were more into physical comedy and outrageous costumes
      in addition to their fine singing.

      They told of singing for many different groups in their
      career, including the California Refuse Removal Council,
      for whom they wrote their next song, asking the musical
      question, "What do you do with your garbage if you don't
      have a garbage man?," another rollicking number that
      showed off their versatility. "Lonesome Cattle Call"
      was a song that allowed the audience to "release the
      inner cow" that presumably resides within each of us.
      The audience responded with a cacophany of their favorite
      barnyard sounds, and the Edlos donned black cowboys hats
      from the table of miscellaneous props they had behind
      them on stage.

      Keeping with the cowboy theme for the moment, they
      sang of "casting my lasso towards the sky" as they
      played a cowboy on his deathbed, who, in spite of his
      near-death condition, still has the strength to rise
      us and give a hearty yodel, featuring tenor Ed Cohn.
      Pony-tailed Larry Venza, their awesome bass, called
      for a vote as towhich was more impressive...Ed's yodeling
      or his zany eyebrows that seemed to move all over his
      face! Once again, the eyebrows won...personally I liked
      the little pink lasso's they spun as they sung...

      Lead singer Craig Knudsen (related to the famous
      barbershop family? Maybe remotely) soared in a pretty
      ballad, "Tupelo Honey," but then the group switched
      gears again, shedding more clothing to reveal tie-dyed
      shirts and psychedelic colors...long hair wigs and sunglasses
      completed the transformation to 60's hippie types, and
      they took off on a mind-tripping Beatles tribute with
      "Something." Bari Eric Morris stepped forward with an
      effective electric guitar vocal...Craig said they
      were thinking of changing their names to "The Four Chads,"
      playing on the recent Florida elections fiasco...they
      had names for each member: "Dimpled Chad, Pregnant Chad,
      Swingin' Chad and Hanging Chad (don't ask!)"...they
      continued in their 60's time travel with a later Beatles
      tune, "Come Together" and took it to the limit with a
      wild and over the top "Hurdy Gurdy Man" featuring bass Larry
      Venza's amazing range.

      Even more clothes came off and the group ended up in no
      more than Tarzan-like animal skins as they finished their
      set with "The Lion Sleeps Tonight," bringing on another
      standing ovation from the crowd.

      We were ready for an intermission and a chance to rest
      our ears and catch our breaths. Many folks headed out to
      the lobby to get an early jump on the demand for tapes and
      CD's from these groups. But before we knew it the second
      half was ready to start.

      SHOWTIME
      --------

      Crowned Sweet Adelines International Champions in 1993,
      Showtime has over 50 years of collective barbershop
      experience, and they brought it all to focus as they
      hit the stage in bright sequined blue and black tops
      over black slacks. Their bright faces and familiar
      barbershop harmony were a welcome change from the
      relentless pounding of the previous groups, and I could
      feel the audience relax as they embraced music well
      within their comfort level once again. "Goody Goody"
      was their opening number, and Showtime really sparkled.
      Lead Debbie Connelly was all dimples and smiles as
      she charged into the song, and their great blend and
      energy didn't falter a beat. They threw in a couple of
      references to Nashville and country music with mentions
      of "watching TNN" and "achy beaky heart"...cute!

      The Auctioneer Song followed quickly and they blistered
      through it from start to finish, with crisp diction and
      perfect attack throughout. So fast! They followed that
      with the female version of "I Used To Call Her (Him) Baby,"
      in the familiar medley with "I Want A Girl (Guy)."

      Showtime got serious with a beautiful version of "Amazing
      Grace," as the lights dimmed and the spotlight zeroed in
      on Debbie's fine vocal solo. They changed moods once more
      with a silly song about a rooster that helped get the
      chickens laying eggs again, and who also helped get the
      family cow to produce (eggnog) and even the poor old
      gum tree to bear fruit (Chick-lets), with bass Dana Hitt
      having fun clucking and scratching...I'm sure the Big
      Chicken mascot would have been proud!

      They had another fun song, something Weird Al Yankovic
      might have written, called "Since You've Been Gone" and
      brought out bari Cindy LeMasters' ditzy blonde side with
      "'Cause I'm A Blonde" ... she played the part to a tee,
      even though she was a brunette on stage...Debbie explained
      the inconsistency, pointing across the quartet to tenor
      Donna Rose's beautiful blonde hair and explaining that they
      were very different, because "Donna has blonde hair, and
      Cindy...well, she has a blond brain!" She assured us that
      Cindy wouldn't be offended because she just didn't get it!
      Cindy stood in the background with a spaced-out grin and
      just breezed along...funny!

      They sang Elton John's "Can You Feel The Love Tonight"
      from the hit Disney film, "The Lion King," and then tenor
      Donna Rose took us on a frantic "Flight Of The Bumblebee"
      with an imaginary bee buzzing the quartet, landing on
      Debbie's nose, flying all about, only to be felled at the
      tag with an imaginary blast of bug spray.

      They closed their excellent set with several versions of
      "Clementine" sung as if it had been written by The Beach
      Boys, Gladys Knight and the Pips, as an opera (Debbie's
      trained operatic voice stunned the crowd as she stepped
      forward and filled the hall with a huge sound) and as a
      traditional barbershop song, letting bass Dana Hitt shine
      as well. Another Standing O! This crowd was loving it all.

      M-PACT
      ------

      The final act of the night was m-pact, another group from
      California, introduced as a quintet but coming on stage
      with only four men. Their opening number, a "Get Down,
      Boogie Oogie Oogie" brought back the loud raucous vocal
      percussion technique from before, and showcased the super
      high vocals of tenor Britt Quentin. I found it difficult
      to transition from the very-comfy and familiar barbershop
      harmonies of Showtime back to the at times mind-numbing
      vocal percussion and in-your-face style of contemporary
      singing, and I'll admit my inner voice sort of groaned
      as I thought, Oh no, here we go again...but I have to
      tell you, the vocal excellence of this group just was
      amazing. All four voices are so pure and true, and very
      talented over a huge range of emotion and expression.
      They all had excellent control of their vocal production,
      as well as professional command of the mics and sound.
      They knew exactly what they were doing, and gave it all
      to us throughout their long and demanding set.

      This set was more of the same formula of exquisite
      vocal blend, background layers of harmony, covering
      a seamless bass line of percussive attacks and instrumental
      mimicking of bass, drums, guitars, and so on. Trist
      Curless' voice just blew me away with its resonance and
      control, as he mixed both vocal and sound effects
      effortlessly. Marco Cassone's solo in "Hold On My Heart"
      was sweet and truthful, and was a nice break from the
      high energy repertoire.

      Halfway through the set I could tell the audience was
      getting tired, however. It was a long show, over three
      hours, and it was getting late. I saw a few people
      decide to leave early, but most folks stayed to the
      very end, which was good because they would have missed
      an awesome Miles Davis jazz number, "We're All (Shades Of)
      Blue"...each member took a solo line, vocally playing
      instruments with their voices...bass Jake Moulton
      was effective as he held his cordless mic to the side
      like a clarinet and vocalized an amazing clarinet sound...
      later he cupped his hands around the head of the mic
      as if he were holding a harmonica during "What If We Were
      Cool" and he sounded amazingly like a harmonica wailing
      away, lost in the jazz moment.

      It was getting late, about 10:45pm, and their set was
      running a bit long, but they kept right on coming with a
      calypso style Christmas Carol, "The King Is Born Today,"
      a nice fun arrangement. They followed that with a tribute
      to the amazing Gene Purling on "Smiling Through The Years"
      and wrapped up the night with an extended "On Broadway,"
      which brought each of these talented voices to the front
      in their own showcase once more...Jake did a long detailed
      vocal percussion routine that was stunning...at one point
      I was making notes and had to look upto see how many guys
      were making all those amazing sounds...and it was all Jake!
      He sounded like three voices at once, layering sound upon
      sound in a driving rhythm.

      It was a familiar enough song that perfectly fit their voices,
      and brought the audience to their feet for a fourth
      standing ovation of the evening. We were audibly exhausted
      as we stumbled out into the cool night air of downtown
      Nashville, heading to our hotels and totally satisfied
      with the whole experience.

      Many of the groups on stage commented how they liked the
      mix of performers and thanks the Society and others for
      helping put this event together. They hoped it would be
      an annual event, and many in the crowd roared their
      approval. Hopefully we'll see more a cappella festivals
      coupled with International conventions in the future.

      One more show Monday night! Can't wait!
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