Mel Cooke, Freelance Writer
Beres lifts a leg while dancing at the 'A Moment In Time' concert with Beres Hammond, held at the National Indoor Sports Centre, Independence Park, on Sunday.
THERE WERE handclaps as a countdown from 10 seconds started on the large screens above the stage on Sunday night at the National Indoor Sports Centre (NISC) and a huge cheer as it was complete for Beres Hammond's 'A Moment In Time' to begin.
There would be a wait for Hammond, though, the first cheers going up for a Whitney Houston style 'exhalation' from Dean Fraser and the individual performers entering through one section of the audience seated closest to the stage.
As would all others after him, Fraser walked around the square, pausing at points to play especially emphatic notes, complete with intense body language which spoke volumes, before taking his place on the bandstand.
Others to make the circuit were a young lady who asked "will someone in the name of love lend a helping hand", then Big Youth, all in orange, to the 'Sattamassagana' version then Every Nigger is a Star, U-Roy after "wake the town and tell the people", then Wear You To the Ball, pressing on through the only and very brief sound glitches for the 'Moment'.
Explosive performances
Bob Andy reserved his skanking for the second circuit and I Got Back Home and Marcia Griffiths' black hemline danced along to Dreamland and I Shall Sing. Her hands urged the audience up on Electric Boogie. The howls peaked for Freddie McGregor's second song, Push Come to Shove.
A lanky Buju Banton's circuits were explosive starting with Not A Easy Road. Guitarist Glen Browne went high to sit on a stool in a central raised area in the middle of the band and Banton's his right fingers trembled towards the roof on the final "on and on" in Untold Stories.
A touch of Driver A from the floor caused a final explosion.
There were protests at 9:00 p.m. when a half-hour intermission was announced. It was 9:50 p.m. when the main lights went down, the lights over the orchestra members' music sheets glowing, and the cheers up as Hammond made his way through the audience, swelling as he skipped, paused and strode purposefully up the steps.
It was the beginning of just over two hours on a momentous, extended Gleaner-sponsored 'Moment' with Hammond, the orchestra starting off and the sing-along beginning immediately as he requested "would you give me a bit of your time", a pair of dancers adding their movement to the moment.
A musical get-together
The reggae of One Dance hit and the centre shook with the audience's howls. She Loves Me Now followed to the same effect as a smiling Hammond walked the square, giving all his full attention.
He was like the endearing uncle or world's best next-door neighbour who just happened to be able to sing superbly holding a musical get-together with friends, good-natured jokes coming throughout the 'Moment' as he interacted with band, orchestra, dancers and audience.
When the music and three dancers portraying a love triangle paused on the first 'could you' in Step Aside Now, after a few seconds Hammond walked over to the male dancer and said "you must tired now" and continued the song through the laughter. A right leg flashed high on Come Back Home and the first 'pull-up' came on Double Trouble and Hammond said to orchestra conductor Peter Ashbourne "you can pull up too", smiling.
The combination of dance and music which marked the night continued with an expressive sole male dancer on Putting Up Resistance, Hammond's black jacket by now well gone and his white, long-sleeved shirt open to show a matching vest.
"I never realise that my Jamaican people love me so much. This is wonderful," he said, and they roared. They roared again as he said, "I want to big up some celebrities in the place," turning in place and a sweeping hand indicating all.
Double trouble
Beres Hammond and Marcia Griffiths sing the love song, 'It's Not Too Late'. - Photos by Winston Sill/Freelance Photographer
It was a superb run of slow songs, the orchestra leading the way on One Step Ahead. His first "got to get away" was nearly drowned out by the NISC chorale, they burnt along in the morning sun, roaring as he stomped in place before the chorus, then with a hail to 'Sister P' and 'Babsy', it was back to rockers with Full Attention and there was a hug for Beenie Man and squeals for a brief "welcome the girls them sugar".
The volcano overflowed when Buju Banton returned, Hammond singing "thought I could live without you" and the deejay high stepping into "who sey dat big man don't cry". At points, they walked together, facing forward, at others Buju was ahead and turned to face Hammond as they went around the square Buju called Beres the 'boss' repeatedly. As they reversed roles, they were on different sides of the square, Buju's singing ripping up the audience then the pair meeting as Beres imitated Buju in growl and stance to howls from the full house. They requested "just a little more time", Buju singing to Hammond "boss man don't you ever change it" before their Pull Up turned the centre over.
There were cheers and handclaps of appreciation through each pause, as the 'Moment' settled into a reggae groove, Hammond strolling the square for They Gonna Talk, one man in the stands having a grand time all by himself, leaning forward and back, eyes closed, a drink in hand as he rocked to the love songs. Rockaway got a slow start, then the rockers hit, Hammond asked that no one disobey the No Disturb Sign and Come Down Father got a slow, intense delivery.
The sing and stride continued with Love From a Distance and there was a collective convulsion of delight for Groovy Little Thing.
Marcia Griffiths glowed in yellow as she walked over to where Hammond was seated on the stage, held his hand and they rose, Hammond singing "first let me say how good you look tonight". An a cappella combination ended in simultaneous humour, before Live On hit, the two smiling together and walking hand in hand.
Hammond went high in the centre as a mass choir of young people in blue and white lined the four sides of the stage, moving rhythmically, holding up hands in praise and singing to a new song, the affirmation that I'll Live Again, Hammond appearing to rise from the swell of swaying figures.
It was heading to the midnight close, but only a very few were leaving to beat the traffic, almost all staying firmly in place as Hammond literally sang a moment in time, requesting "give us just a moment in time to change our lives forever".
Then, without much fanfare, he sang "we must go on, make the change", going down the steps slowly and saying a last "Jamaica people, I love you", a standing ovation mixed with the rise to exit at smack on midnight.
One Glorious 'Moment'!
With their attention focused on the stage, these patrons don't intend to miss a thing at 'A Moment In Time' concert with Beres Hammond, held at the National Indoor Sports Centre, Independence Park, on Sunday. - Photos by Winston Sill/Freelance Photographer
U-Roy is at his best waking the town and telling the people what the 'Moment' will bring.
Buju Banton caused an explosion when he introduced 'Driver A'.
Opposition Leader Portia Simpson Miller could not resist the urge to dance, while her husband Errald (seated left) looks on.
Saxophonist Dean Fraser blows emphatic notes to the pleasure of a delighted audience.
Marcia Griffiths delivered 'I Shall Sing', 'Dreamland' and 'Electric Boogie'.
Graceful, yet nimble dancers carried the concert to another level.
The Big Ship, Freddie McGregor, was the ladies' heart-throb.
