Access Atlanta > Arts > Our Reviews > Archives > 2004 > November > 12
Friday, November 12, 2004
Jay-Z and (way too many) Friends play Philips Arena
The Atlanta Journal-Constitution
Jay-Z alone would have been enough. After all, the hip-hop mogul has reached a Michael Jordan point in his career — questionable retirement declaration and all. But Jay-Z decided to hit the road with collaborator and R&B singer R. Kelly — and everyone knows what a bad idea that turned out to be. The “Best of Both Worlds” tour came to an abrupt end two weeks ago, after a series of concerts mired by cancellations and Kelly’s late arrivals and mid-show departures. So Jay-Z is completing the tour with a little help from his friends. Or actually, a lot of help from his friends.The rap superstar must’ve called everyone who appeared on his seven studio albums. And anyone else around who wanted to join in. “That [expletive] looks like the Grammys,” Jay-Z said as he motioned to the backstage area of Philips Arena Thursday. Actually, it looked more like the Vibe, BET or Soul Train Awards. But the near-capacity crowd got the point as they watched the parade of stars Jay-Z welcomed onstage over a wearying four-hour period. Again. And again. And again. DJ Kid Capri was the first of many unannounced guests of the evening, manning the turntables for a furious trip through decades of music that ended with a huge introduction for Jay-Z. But the star of the show didn’t actually hit the stage until nearly 20 uncomfortable minutes had passed. Finally, Jay-Z appeared, looking relaxed in a leather chair — cigar in one hand, snifter in the other. Then he got up, walked to the center of the slick, screen-heavy backdrop and roared,”Allow me to reintroduce myself!” It’s a line from an interlude on his last CD, “The Black Album.” But it took on new meaning Thursday, as at numerous points in the evening it was easy to forget exactly whose name was at the top of the bill. Less than four songs in, Memphis Bleek, a burgeoning rapper on Jay-Z’s record label, was by Jay-Z’s side. Then multimillion-selling Atlanta rapper Ludacris took over for five or so songs. Local music mogul Jermaine Dupri joined him on “Welcome to Atlanta,” a song they recorded together. Then Dupri, who’s featured on the remix of Dem Franchize Boyz’s “White Tee,” waved the hometown Boyz on. After which, the self-appointed mayor of the city summoned OutKast’s Big Boi for a brief set. The local interlude lasted about 45 minutes, then Jay-Z returned with others on his Roc-A-Fella imprint. But Bleek, Freeway and the Young Gunz combined didn’t garner the response that Atlanta rapper T.I. did during his seven-song tear. Searingly powerful R&B icon Mary J. Blige followed. Then an almost unnecessary Sean “P. Diddy” Combs. And then the Memphis rap duo on his Bad Boy South label, Eightball & MJG. After that, New York rapper Black Rob. And then local one-song wonder Crime Mob. At 11:23, nearly half-an-hour after most shows at this venue end, Combs joked that they were trying to break a record. Break spirits is more like it. Because after more intermittent Jay-Z came hip-hop’s MIA sex symbol Foxy Brown, followed by rap growler DMX for about five numbers. By the time Atlanta’s beloved crowd rousers Lil Jon & the East Side Boyz appeared, the prerecorded tracks everyone was rhyming and singing to started malfunctioning, leaving rapper Lil Scrappy clearly frustrated and R&B singer Ciara stuck mid-dance move. And it still wasn’t over. Jay-Z returned for monster hits “I Just Wanna Love U (Give It 2 Me),” “Big Pimpin’ ” and finally, “Encore.” Thankfully, there wasn’t one.
Permalink | Comments (20) | Categories: Pop Music
ASO on Thursday: ‘Oceana’
The Atlanta Journal-Constitution
ASO Chorus shines in feast of contrasts By SUSAN ELLIOTT For the Journal-Constitution
� In a stunning display of stylistic diversity, the Atlanta Symphony Orchestra Chorus last night managed to raise its own sterling standard a few notches, singing in the program’s first half with a tone of rough-hewn abandon and in the second with the creamy, atmospheric blend so vital to the multicolored mood painting of Ravel’s “Daphnis et Chloe” ballet score, played here in its entirety.
� Conductor Robert Spano’s pairing of that sensuous piece with two new works by Argentine composer Osvaldo Golijov made for an altogether delicious program.
� Golijov’s “Oceana,” performed here professionally for only the second time since its premiere in 1996, is an ingeniously crafted amalgam, combining electronically processed solo jazz voice, huge double choir, orchestral strings, and amplified acoustic guitars, bass, and harp.
� Composed in the spirit of a Bach cantata and based on Pablo Neruda’s poetry, “Oceana” weaves together brief melodic and rhythmic motifs to create plush, ankle-deep carpets of glorious texture. Great, wallowing washes of sound slowly emerge over time as small fragments are laid one atop the other.
� Riding high over it all, usually doubled on flute or guitar, was the straight-toned vocal line of Brazilian pop/jazz singer Luciana Souza, for whom the piece was written. After a shaky start, Souza warmed increasingly to the task, in her best moments displaying a dark, sensuous chest voice and a clear, straightforward top, navigating between the two without a hitch. Her pinpoint pitch and rhythmic accuracy made her a vital part of the whole, as opposed to being positioned as “the soloist.”
� That is a large part of Golijov’s gift, this ability to assimilate seemingly diverse elements into a cohesive whole and to build tremendous dramatic impact in the process. The program”s first work, “Last Round,” was written in tribute to the late tango master Astor Piazzolla, something of a mentor to Golijov. Scored for string orchestra, the work’s first movement had the intensity and velocity of a white-hot meteorite speeding toward Earth. The second movement, ethereal and melancholy, benefited from a warm, rich and cohesive string sound.
A cold and rainy night outside, to be sure, but a red-hot one in Symphony Hall.
Permalink | | Categories: Classical Music
