Some of the University Singers in concert. - FileON SUNDAY evening, as a part of their 2002 season, The University Singers held a benefit performance for St. John's United Church. The performances took place at the Philip Sherlock Centre for the Creative Arts and featured several genres of music.
The first segment of the performance featured classical hymns and spirituals. These songs were directed by Noel Dexter. Additionally, this segment celebrated the voices of the females of the group, who raised their voices in praise during several solos that were beautifully complemented by the chorus. Thus, while the males had no solos during this segment, their voices were by no means ignored.
J. Hayden's Great and Glorious was the first classical hymn in this segment. It was followed by I Waited For the Lord, which featured solos from Shawna-Gae Turner and Josette LaHee. Impressive solos were also provided by Raymonde Rohan in Sanctus, Carolyn Reid in I Want Jesus to Walk With Me and Faith Livingston in Honour, Honour.
Although all the songs performed were beautifully orchestrated, Elijah Rock stood out. The song could be seen as delicately constructed vocal architecture, using the different voice levels to complement each other and giving the song a multi-textured feel.
The piece Singer's Jazz also stood out. This rendition was an instrumental swing piece wherein all the instruments were replaced by the singers. Djenne Greaves did an interesting solo in this performance.
It was then time to focus on gospel music, with renditions of I Can Turn To You, featuring solos from Mario Guthrie and Anna-Kay Taylor and He Will Bring You Joy with a solo performance by Carol Dexter.
The group's rendition of R. Kelly's I Believe I Can Fly topped off their performance of popular music. The song was given a very soulful delivery by Kevin Downswell and Cleveland Cathnott, who were backed by the full ensemble during the chorus. Beres Hammond's Rock Away and Third World's Try Jah Love were also performed. While Rock Away was performed by the entire choral, Try Jah Love featured Christopher Smith as lead.
The folk portion of the evening was overall very entertaining. The 'nine night' portion of the evening featured nine songs from the slowly dying ritual. The fluidity of form which was shown in the choreography reflected the dynamism which nine nights represent. While it is a ritual, the interactive, yet performative nature of the songs ensured that it is not static.
The authenticity of the singer's performance was further enhanced by Heston Boothe's role as the 'tracker'. In this role, he smoothly orchestrated the move from one song to the next, literally, without missing a beat.
The singers performed Death Has A Time, In Jerusalem School Room and I Saw Father Abraham. The singers then switched to A Come Mi Dis A Come Anywhere Di Army Go, Cookie Wi Hungry, which were followed by One Drink A White Rum and Children Are You Ready?
In addition to the nine night songs, the University Singers performed 10 folk songs as well as four songs from the National Pantomime. The general folk suite featured Evening Time, Roas' Breadfruit, Ting-a-Ling and Heel an Toe. The Singers delivered Roas' Breadfruit with such relish that one could almost taste the roas' breadfruit or dumpling in 'coc'nat ile' about which they sang.
The songs in the male folk song suite dealt with employment and male/female relations. While the songs are from the folk tradition, they evidently, and sadly so, remain relevant to Jamaica today. The first song, No Wuk Today, details a man's attempts to find employment, but there is none available. Muma Mi Wan' Fi Wuk straddles employment and male/female relationships. It features a young man who wants a job so that he can have his own family. On the other hand, Da Cocoa Tea gives a little information about the use of obeah in relationships.
On the other hand, the folk songs relegated to the women dealt with gossiping. The first two songs, Mouta Massy Liza and Miss Wireless featured women who could not keep their tongues, but instead made it their business to spread gossip. The final song in this segment was 500 Feet A Board.
The selection of songs from the Pantomime was interesting in light of the election fever currently threatening the island. The group performed four songs from the Pantomime When De M.P. Come Ya, M.P.'s Speech, Wi Want and Dis Is Di Man. With these songs, an image of the political situation in Jamaica was created. It showed people's frustration with the current system, their unrealistic expectations and finally, their willingness to accept new fluff.
Musical backing was provided by members of the choir, who took their place at the intruments during the intermission. The musicians comprised Christopher Smith on keyboard and piano, Catherine Brown on keyboard, Djenne Greaves on drums, Matthew Maharaj on bass and percussion and Lawrence Nelson and Dennis Brookes on percussion.
