Vocalist Penni Layne Releases 'Warm in December'

BOSTON, Mass. - In the oppressive midsummer heat of New York City last July, jazz vocalist Penni Layne and her quartet entered iconic Sear Sound to record “Warm in December,” the just-released Upside ten-track set of seasonal standards and an original tune that she wrote with her coproducer Larry Jackson. Despite the stifling temperatures and humidity outside, Layne and her ensemble summoned memories of Christmases past to bring this cozy collection of classics presented as acoustic jazz rhythms and melodies to life.      

The “Warm in December” seeds were sown last Christmas as Layne and Jackson began rifling through holiday songbooks to select material to record. Her mission was to record “a holiday album that is the product of childhood memories, magic, and traditions passed onto our children. The album is a love letter to my husband, my family, past and present, and to anyone who believes in miracles.” 

Many of the selections on “Warm in December” are timeless perennials - “Winter Wonderland,” “The Christmas Song,” “Let It Snow,” “I’ll Be Home For Christmas,” “Have Yourself A Merry Little Christmas,” and “Sleigh Ride” – shared in imaginative new arrangements. A few cuts – the title track, “I Love The Winter Weather,” and “A Christmas Love Song” – are lesser-known gems given a fresh sheen rendered with the hope that they become new favorites of the album’s listeners.

Then there is the tender original, “At The First Snowfall.” Layne and Jackson composed it during Christmas in the pandemic, penning a song to conjure family connectedness despite the prevalent feelings of isolation and loneliness. The married partners tapped into fond memories and gratitude to tell a story to evoke happiness during the sacred season, a hard-pressed season not to be impacted by the worry, sadness, and fear that gripped the globe at the time. The heartfelt number plays like a gift to be opened each Christmas, like the entire album.

Throughout “Warm in December,” Layne plies her soothing voice, beaming joy, grace, elegance, fervor, and gentility. Her cohorts – pianist Michael Kanan, bassist Neal Miner, guitarist Greg Ruggiero, and drummer Keith Balla – astutely construct swinging jazz cadences and romantic ballad backdrops, settings from which Layne’s inviting vocals leap to the fore, taking powerful command of the spotlight. 

The Boston-based Layne will celebrate the season and the album release with a concert at Regattabar in Boston this Friday (December 13). Performing a setlist featuring songs from “Warm in December,” Layne will be accompanied by Jackson on bass, GRAMMY-winning trumpeter Bijon Watson, keyboardist Ryan Claunch, and drummer Steve Bankuti.

Layne and Jackson are a prolific pair that create a wide array of music projects – from jazz to R&B and electronic dance music. 2025 will see them issuing a jazz album comprised of standards and originals titled “Every Day I Fall in Love” (release date TBA). Their busy release slate includes an album, “The Art of Love and Poetry,” from their eight-piece R&B band, Penni Layne & The Wonder Boys. They plan to release six singles – one every six weeks – with the first to arrive at a soon-to-be-announced date. Teaming with producer Andrija Gavrilovic to create high-energy remixes under the PLM moniker, Layne eyes dropping six to eight singles from a yet-to-be-titled album beginning in February or March. 

For more information, visit https://pennilayne.com.

L.A. Theatre Works Releases Four Tennessee Williams Audio Plays

LOS ANGELES (December 10, 2024) — L.A. Theatre Works is excited to announce the availability, beginning today, of four audio theater productions of classic plays by Tennessee Williams. The company’s Tennessee Williams Collection launches with the release of The Glass Menagerie today, December 10, followed by three titles in 2025: A Streetcar Named Desire on March 11, The Rose Tattoo on April 8, and Summer and Smoke on May 6. Listeners can find each recording online at latw.org, as well as at retailers and libraries everywhere.

A co-production with NPR affiliate KCRW 89.9 FM and the BBC, the L.A. Theatre Works audio production of The Glass Menagerie, Williams’ autobiographical “memory play” that launched his career, reunited the cast of the Roundabout Theatre’s celebrated revival: Julie Harris, Calista Flockhart (in her Broadway debut), Kevin Kilner and Zeljko Ivanek, and features John Goodman as the narrator. Set in 1935 and based on Williams’ family, the play centers on the Wingfield family, who live together in a cramped St. Louis flat, forced to wrestle with unrealized dreams and painful memories.

Glenne Headly, Vincent D'Onofrio, Amy Brenneman, and David Selby headline the cast of A Streetcar Named Desire, an L.A. Theatre Works co-production with the BBC and CBC. In Williams’ Pulitzer Prize-winning masterpiece, Blanche DuBois, once a well-heeled Southern belle but now alcoholic and destitute, arrives in New Orleans to stay with her sister Stella and her brutish brother-in-law Stanley. As Stanley terrorizes the fragile Blanche, reality slips slowly away from her.

Mercedes Ruehl and Anthony LaPaglia, who starred in the 1995 Broadway production of The Rose Tattoo that earned a Tony Award for Best Revival of a Play and Drama Desk Awards for both actors, reunited to record the play for L.A. Theatre Works in front of a live audience at L.A.’s Skirball Cultural Center. The story of an Italian-American widow in Louisiana who has allowed herself to withdraw from the world after her husband's death; the large cast also includes Emily Bergl, Marieclare Costello, Tim DeKay, Brent Hinkley, Carol Locatell, Kate Mulligan, Antonia Ray, Peggy Roeder, Vincent Schiavelli and Claudette Sutherland.

Finally, Summer and Smoke’s Alma Winemiller is a shy, religious young woman who grew up pining for the boy next door. He’s grown up to become a doctor with a penchant for sexual conquest, so when he returns to their Mississippi town to start a medical practice, their strange attraction sets them on a path of turmoil and heartbreak. Also recorded before a live audience at the Skirball, the L.A. Theatre Works audio production stars Ann Gee Byrd, Kristen Frazier, Mark Kudisch, Carlos Lacamara, Gabriel Olds, Tina Sánchez, David Selby, Tegan West, Armin Shimerman, Kitty Swink and Sarah Zimmerman.

Domingo To Receive Award at 40th SBIFF

 

Colman Domingo

SANTA BARBARA, CA - The Santa Barbara International Film Festival is honored to announce that cinema icon Colman Domingo will receive the Montecito Award at the 40th annual Santa Barbara International Film Festival. Domingo will receive the prestigious award on Friday, February 14. The evening will highlight his powerhouse performance in Greg Kwedar’s SING SING, where Domingo’s portrayal of Divine G brings an incredible mix of vulnerability, charisma, and resilience to the big screen. This recognition comes from Domingo's win at last night’s Gotham Awards, where he took home the honor for Outstanding Lead Performance.

“ Colman is such a committed performer and of the most extraordinary talents on the small screen, in theatre, and in film, and he makes it all seem effortless.  His work in SING SING is unforgettable,” remarked SBIFF’s Executive Director Roger Durling.

Colman Domingo has been nominated for an Oscar, BAFTA, Tony® Award, Critics Choice Award, Independent Spirit, Gotham Awards, Lawrence Olivier, Drama Desk, Drama League, NAACP Image, and Black Reel Award. He has also won an Emmy, Astra, AAFCA, NAACP Image, and Black Reel Award.

In 2023, Domingo starred as Civil Rights leader Bayard Rustin in Netflix and Higher Ground’s film “Rustin," for which he received an Academy Award Nomination, Golden Globes, BAFTA, and SAG nomination. He can also be seen as “Mister” in the Warner Bros production of "The Color Purple," which received a SAG Ensemble nomination.  Domingo's executive produced and starred in Greg Kwedar’s film “Sing Sing,” which was purchased for distribution by A24 and had its theatrical release in the summer of 2024. He also executive produced "It's What's Inside”, which premiered at the 2024 Sundance Film Festival and was released on NETFLIX in October 2024.

Domingo is well known for his Emmy Award-winning role as “Ali” in HBO’s “Euphoria” as well as his roles in “Zola,” “If Beale Street Could Talk,” ‘Selma,’ “Candyman,” and many more. 

He is currently seen in the Netflix limited series "The Madness" created by Clement Virgo. He also recently wrapped production on ‘Michael’ playing Joe Jackson, directed by Antoine Fuqua. Lionsgate will release the film on October 3, 2025. Additionally, Domingo will voice Norman Osborn in the upcoming Disney+ animated series “Your Friendly Neighborhood Spider-Man.” Domingo is currently in production on NETFLIX’s “The Four Seasons” alongside Tina Fey and Steve Carrell.

The Montecito Award is named after one of Santa Barbara's most beautiful and stylish areas. Past recipients include Jeffrey Wright, Angela Bassett, Penélope Cruz, Amanda Seyfried, Lupita Nyong’o, Melissa McCarthy, Saoirse Ronan, Isabelle Huppert, Sylvester Stallone, Jennifer Aniston, Oprah Winfrey, Daniel Day-Lewis, Geoffrey Rush, Julianne Moore, Kate Winslet, Naomi Watts, and Javier Bardem.

The 40th Santa Barbara International Film Festival will occur LIVE February 4 - February 15, 2025. Official events, including screenings, filmmaker Q&As, industry panels, and celebrity tributes, will be held at SBIFF’s Riviera Theatre and its new Film Center, plus the historic Arlington Theatre. Passes for the 2025 Festival are on sale now at sbiff.org.

Last year, the festival featured 200+ films from over 48 countries, with honorary awards given to Robert Downey Jr., Bradley Cooper, Mark Ruffalo, Paul Giamatti, America Ferrera, Lily Gladstone, Greta Lee, Charles Melton, Da’Vine Joy Randolph, Andrew Scott, Martin Scorsese, Justine Triet, Billie Eilish, and Ludwig Göransson.

A-list and industry guests will once again ascend to Santa Barbara, making it a must-stop location on the awards circuit and delivering a record number of films with many World and U.S. premieres. The film lineup and schedule will be announced in January 2025.

About the Santa Barbara International Film Festival

The Santa Barbara International Film Festival (SBIFF) is a 501(c)(3) non-profit arts and educational organization dedicated to discovering and showcasing the best in independent and international cinema. Over the past 39 years, SBIFF has become one of the top 10 film festivals in the United States, attracting 100,000 attendees and offering 11 days of 200+ films, tributes, and symposiums. SBIFF fulfills its mission to engage, enrich, and inspire the Santa Barbara community through film.

SBIFF continues its commitment to education and the community through many free educational programs and events. SBIFF’s programs support over 18,000 kids, students, and families in our local community by introducing film as an art form to young children with programs like AppleBox and Mike’s field trip to the Movies; teaching film analysis to high school and college students with programs like Rosebud and the Film Studies Program; and teaching the craft of screenwriting and filmmaking with Film Camp and 10-10-10 Mentorship programs. Most importantly, SBIFF’s programs are always directed toward the under-represented and under-served communities within Santa Barbara County.

More recently, SBIFF secured a long-term lease for the iconic multi-plex at 916 State Street in the heart of downtown Santa Barbara. This landmark acquisition paves the way for creating a state-of-the-art film center. This vibrant, year-round destination will be a central hub for cinema enthusiasts and the heart of SBIFF’s renowned Film Festival. Building on the success of the Riviera Theatre revitalization in 2016 and the opening of its own Education Center in 2019 in the downtown area, SBIFF continues to strengthen its commitment to the cultural fabric of Santa Barbara.

Disneyland Opens First Black-Themed Park Ride

Disneyland courtesy photo

By Darlene Donloe 

 Tiana’s Bayou Adventure, the first Black-themed ride in Disneyland’s history, finally opened to enormous fanfare on Friday, Nov. 15. 

The long-awaited new amusement park ride is the first time Disneyland’s diverse fan base has been able to see itself mirrored in one of the park’s rides. 

 The day before the opening, a host of Disney executives, fans, and celebrities, including Jenifer Lewis (Black-ish), who voices Mama Odie, Anika Noni Rose (Dreamgirls), who voices Princess Tiana, and Michael-Leon Wooley (AJ and the Queen), who voices ‘Louis,’ on the ride, were all on hand to christen Disney’s latest attraction and the next chapter of ‘The Princess and the Frog’. 

Lewis called the opening, ‘historic,’ while Rose called it ‘phenomenal,’ and ‘amazing.’ Charita Carter, executive creative producer of Tiana’s Bayou, and Carmen Smith, sr. v.p., creative development, Walt Disney Experiences, who both oversaw the development of the attraction, were on hand and called the ride a ‘fantastical journey.’ 

Tiana's Bayou Adventure is a log flume attraction at Magic Kingdom in Florida, and Disneyland in California. It is based on Disney's 2009 film, ‘The Princess and the Frog.’ 

The experience begins with an outdoor float-through that leads to indoor dark ride segments, with a climactic steep drop followed by an indoor finale. The drop is 52.5 feet (16.0 meters). 

The attraction, which replaced Splash Mountain, opened on June 28, 2024, at Magic Kingdom and on November 15, 2024, at Disneyland. Tiana’s Bayou Adventure is set in New Orleans, circa 1927, as Tiana, who is now a restaurateur (Tiana’s Foods) is preparing to throw a Mardi Gras party. 

The water attraction has Tiana and her alligator friend, Louis, going into the bayou to find a band for the celebration. Tiana and Louis need help finding the new crew. Guests meet 19 new critters along the way, including a turtle, raccoon, bears, and more. They also run into Mama Odie and her pet snake Juju. 

The attraction, which has a carefree, cheerful feel, takes place in a land called Critter Country and takes riders on a musical journey through the Bayou with Tiana and her friends. It reportedly serves as a celebration, boasting a statement about the communal power of music and a narrative that serves as an American success story. 

One of the opening scenes has Tiana welcoming guests to the bayou while Louis plays the trumpet, frogs croak, and a band of critters plays zydeco music on various objects. Lighting up the scene are water lilies and fireflies. 

The ride features multiple songs from The Princess and the Frog, including “Down in New Orleans,” “Almost There,” “Gonna Take You There,” and “Dig a Little Deeper.” 

True to the Louisiana culture, the music, food, spirit, and flair of New Orleans are proudly on display, including murals by Louisiana artist Malaika Favorite on the building outside of the ride. While ‘Tiana’s Bayou Adventure’ is an incredible experience, the real magic comes from seeing a Black Disney Princess as the star of her own Disney Parks attraction for the first time. 

For some, that truly makes it ‘The Happiest Place On Earth’.

'King of Kings: Chasing Edward Jones' Doc, Produced By Quincy Jones and Debbie Allen, Has North American VOD Release

Gangster for some, philanthropist for others, who was really Edward Jones? In the 1930s and 1940s, this descendant of slaves becomes one of the richest men in the United States thanks to the Policy business, an illegal numbers game, that ultimately became the modern state lottery, now played by millions nationwide. It’s estimated that Edward Jones made amassed a fortune  $25 million in the Policy business (numbers game),  and put money in the pockets of Black folks who didn’t have many economic opportunities. But in these times of segregation, his success and unfailing support to the African American community are a problem. In conflict with both the mob and the Feds, he is eventually forces into a life on the run!

Exploring the rise and fall of the most famous Policy King of all times -- Edward  Jones, nicknamed the “King of Kings” --  his filmmaking granddaughter uncovers an unparalleled story, while showing the lasting repercussions of his untold story, both within her family, and for Chicago’s South Side where he once embodied the American dream. 

Love, success, violence, revenge, mafia, murder, betrayal, prison, kidnapping. . . Edward Jones’s story holds all the best ingredients of gangster movies. Add segregation and you have a very explosive cocktail! 

 KING OF KINGS | 98 minutes runtime 

Director Harriet Marin Jones and the legendary Quincy Jones.  
Photo by Emmanuel Guimier

 

Curtis Haywood Has An Emotional 'Last Dance'

 

 

As his mother valiantly fought brain cancer in the final two years of her life, soul/jazz saxophonist Curtis Haywood struggled to let her go. But he knew he had to let go if only to relieve her of the crippling pain she endured. In that moment of clarity, he imagined dancing with her one final time. Haywood captured that intimate and emotional moment on “Last Dance,” the newly released single that he wrote. Billboard chart-topping guitarist Steve Oliver produced the track and is featured playing on the Megawave Records release which is among the most added new singles on the Billboard radio chart. 

 

While the poignant backstory may seem somber, Haywood’s “Last Dance” is a joyous celebration of life’s transient beauty. The soulful interplay of Haywood's soprano saxophone and Oliver's guitar creates a rich, downtempo R&B groove inviting listeners to dance. 

The accompanying video, below, mirrors this vibrant energy, showcasing the track’s infectious spirit.

“‘Last Dance’ is about recognizing the necessity of releasing what no longer serves us, opening ourselves to new beginnings and brighter futures. This powerful message resonates throughout the song, making it a perfect anthem for anyone facing life’s inevitable transitions,” said Haywood who shot the video during a summer residency in the Hamptons.

 

The Brooklyn-born and based Haywood is a saxophonist and steelpan player who attended the Berklee College of Music. He has released three albums incorporating classic R&B, soul, jazz, and gospel beginning with his 2007 self-titled debut set. Haywood also issued a couple of Christmas singles, “Mary, Did You Know?” and “Hark the Herald Angles Sing.” A dynamic concert performer, Haywood has performed with or been on marquees featuring contemporary jazz, classic R&B, soul, and gospel greats Chieli Minucci, Elan Trotman, Will Donato, JJ Sansaverino, Melissa Morgan, Melba Moore; Ray, Goodman & Brown; The Intruders and Harold Melvin’s Blue Notes, Dennis Edwards and The Temptations Review, Kirk Franklin, Sounds of Blackness, and Noel Pointer.

John Smith & DA'JA 'Make Me Feel Good'

DETROIT, Mich. - Some lines from movies resonate on a deeper level. As multi-instrumentalist John Smith watched Halle Berry’s Academy Award-winning performance in “Monster’s Ball,” her character said something so simple, yet it had a profound impact on him, inspiring the title of his band DA’JA’s new single, “Make Me Feel Good.” The DA’JA Entertainment contemporary jazz release written and produced by Smith is currently collecting radio playlist adds as it hits streaming and retail platforms including Spotify, iTunes, and Apple Music.

“When Halle’s character leaned in and said, ‘Make me feel good,’ it was simple, but something about the way she delivered the line hit me. It felt raw like she was asking for more than just a moment. She was asking for connection, to be truly understood. That line stayed with me. It captured a feeling of vulnerability and desire, this universal need we all have to feel alive, wanted, and seen. Whether it’s being close to someone, feeling free, or breaking away from everything that holds us back. That’s where the song came from. It’s more than just words; it’s a request, a plea for something real and unforgettable,” said the Detroit-based Smith about the latest single from DA’JA’s “Life After Life” album, which dropped last year.

A cool electric jazz guitar lead speaks evocatively on “Make Me Feel Good.” The downtempo R&B/contemporary jazz groove is carved by bassist Rob Skinner and drummer Jeff Canady while the melodic backdrop is draped by Moe Whitsett’s understated keyboards and warmed by Dennis Lee’s horns.

Smith’s mission is to use music to unite and unify, bridging generations, races, and the cultural divide. Inspired by the death of GRAMMY-winning crossover superstar Selena, he crafted an alchemy of jazz, funk, R&B, and Latin music that he branded Latin Funk. DA’JA’s first album release, “Straight Up John Smith,” dropped in 2002. The band’s fourth collection, “Life After Life,” has spawned seven singles: “Life After Life,” “Takin It Easy,” “Paradise (Full Mix),” “After Five,” “Magical,” “True Love (Acoustic),” and now, “Make Me Feel Good.”

Nominated for Instrumental & Jazz Artist of the Year at the Los Angeles Music Awards, John Smith & DA’JA have played popular Detroit-area venues and festivals at which they shared the stage with Anita Baker, Martha Reeves, Force MDs, and The Time.

In its touring configuration, Smith anchors the DA’JA band septet from the drum throne and is flanked by Derrick Bow (bass), Rodney Walker (guitar), Eddie Payne (keyboards), Neyo Jones (percussion), Terrell Williams (trumpet), and Moe Garcias (horns).

For more information, visit https://dajaent.net.

 

LA Opera Presents Les Talens Lyriques On November 13

(Los Angeles) October 15, 2024 — On November 13, LA Opera will present the Paris-based chamber ensemble Les Talens Lyriques in a concert under the baton of founder and conductor Christophe Rousset, taking place in the intimate environment of Zipper Hall. The program, entitled "The Sound of Music in Versailles," is a tribute to the flourishing sound worlds of the master composers of the French Baroque era, created for the royal courts of King Louis XIV and XV.

"The Sound of Music in Versailles" will showcase music by Jean-Baptiste Lully (1632-1687) and François Couperin (1668-1733), as well as the lesser known Michel Lambert (c. 1610-1696) and Michel Pignolet de Montéclair (1667-1737).

Mezzo-soprano Amboisine Bré will be the featured vocal soloist. In addition to Mr. Rousset at the harpsichord, the instrumentalists will be violinist Gilone Gaubert violinist Benjamin Chénier and cellist Emmanuel Jacques.

Performance and Ticket Info

Les Talens Lyriques will perform at 7:30 p.m. on Wednesday, November 9, at the Colburn School's Zipper Concert Hall (located at 200 S. Grand Avenue, Los Angeles, CA 90012).

A limited number of tickets are on sale now, beginning at $54. Tickets can be purchased online at LAOpera.org, by phone at 213.972.8001, or in person at the LA Opera box office at the Dorothy Chandler Pavilion (135 N. Grand Avenue, Los Angeles CA 90012). For disability access, call 213.972.0777 or email LAOpera@LAOpera.org.

About Les Talens Lyriques

Championing a broad vocal and instrumental repertoire ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little-known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to their renown, is a priority for the ensemble.

Les Talens Lyriques takes their name from the subtitle of Jean-Philippe Rameau’s 1739 opera Les Fêtes d’Hébé. Their repertoire includes works by Monteverdi, Cavalli, Landi, Handel, Lully, Desmarest, Mondonville, Cimarosa, Traetta, Jommelli, Martin y Soler, Mozart, Salieri, Rameau, Gluck, Beethoven, Cherubini, García, Berlioz, Massenet, Gounod, Saint-Saëns and others.

Christophe Rousset and Les Talens Lyriques appear throughout Europe, with performances at the Opéra National de Paris, Opéra-Comique, Théâtre des Champs-Élysées, Philharmonie de Paris, Opéra Royal de Versailles, Dutch National Opera, Amsterdam Concertgebouw, Lausanne Opéra, Teatro Real Madrid, Vienna State Opera, Theater an der Wien, Théâtre Royal de La Monnaie in Brussels, London’s Wigmore Hall and Barbican Centre, among others, as well as on tour elsewhere throughout the world.

Learn more at LesTalensLyriques.com.

Nicole Byer Brings the Funny to Beverly Hills

Nicole Byer

By Darlene Donloe

Nicole Byer has a ‘funny’ way of making her audience laugh.

For one night only, during a recent standup set at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, Byer’s comedy was on fire as she held the nearly sold-out, diverse audience in the palm of her hand.

Dressed casually in jeans, a bright, multi-colored striped top and black-white checked sneakers, Byers showed why she is a popular comedienne. Her charming personality – coupled with a solid delivery makes her a formidable comical opponent.

With only a microphone and a stool, the actress, host, and comedienne, who confidently paced back and forth making good use of the stage, took the audience on a journey through her life.

As she was introduced, Byer, sporting a slimmed-down frame, walked quickly to the lone microphone in the middle of the stage and wasted no time getting to work. A veteran and a pro, she knows how to keep the audience’s attention.

Nicole Byer

Best known as the host of the EMMY-nominated baking series Nailed It!, the podcaster and writer, whose 1,000-watt personality is as warm and inviting as it is hilarious and engaging, talked about being a big star with several Emmy nominations, using Ozempic, her hosting duties on ‘Wipeout,’ with co-host John Cena, traveling with her friend, Sasheer Zamata, who is also her co-host on the podcast ‘Best Friends,’ meeting a Munchkin-size Tom Cruise, her love of porn and her many failed relationships.

She proudly spoke about dumping one date because he bragged about putting sour cream in his mac ‘n cheese. It was a deal breaker.

But what she’s good at is interacting with her audience. She feeds off of the crowd. Half of her set was asking questions of those in the audience. With just a simple prompt as, ‘Who’s in a relationship,?’ Byer is off and running, with quick, and witty repartee. She could do a whole set by dissecting the relationship of her fans.

Nicole Byer

Looking for relationship advice, Byer, who loves to interject anecdotes from her life, asked one couple in the audience the secret to their longevity. Both the man and the woman, who have been married for 49 years, seemed confused by the question. Awkward moments went by with Byer close to giving up on getting an answer.  She jokingly looked at the couple and said, “I’m just trying to get some relationship advice.” Finally, the man said, keeping his mouth shut was the secret, while the woman said it was having good humor. By that time, Byer was ready to move on.

Fresh off her performance in the Netflix Is A Joke festival, Byer, who can be seen in the Netflix special, ‘Nicole Byer: Big Beautiful Weirdo and the NBC comedy, ‘Grand Crew,’ briefly bragged about her busy career.

In 2020, Byer made history by becoming the first Black woman ever to be nominated in the category of “Outstanding Host for a Reality or Competition Program” and was nominated again in 2021 and 2022. The series premiered its seventh season in October 2022.

Byer can be seen in Comedy Central’s supernatural comedy, Cursed Friends alongside Harvey Guillén, Jessica Lowe, and Andrew Lewis Caldwell. She also appears in the immersive comedy special, Surrounded, presented by Just for Laughs.

Nori Reed

Nori Reed was the perfect opener. With her acerbic delivery, she quickly had the audience in stitches.

Reed, originally from Kentucky, is an LA-based comedian, writer, and actress who, at one time, described her comedy as languid, critical, psychosexual, and secretly hopeful.

Her set was much too short. Reed, who introduced Byer, is a great warm-up. It would be worth the price of admission to see her set again. 

As the audience left, it was clear by the quips and laughter, that Byer had successfully brought the funny!

 

 

Pianist Christian Sands Is 'Embracing Dawn'

Christian Sands

By Darlene Donloe

Pianist Christian Sands recently made his Hollywood Bowl debut – and it was alongside some heavy hitters. 

Sands performed September 11, as part of the ‘Jazz on Tap at the Bowl’ program, featuring the Hollywood Bowl Orchestra, led by Principal Conductor Thomas Wilkins with Music Director Christian McBride who co-hosted the show with the legendary Ben Vereen.  

Other band members included Rodney Jones (guitar), Clayton Cameron (drums), and special guest Terence Blanchard.  

Savion Glover brought down the house with his high-energy tapping.

Others on tap included legendary tap dancers Sarah Reich, Michela Marino Lerman, and Karen Callaway Williams, who tapped alongside featured singers including Freda Payne, Judith Hill, and Paula Cole.  

Sands, 35, dapper in a blue checkered-like suit, was masterful as he tickled the ivories.  

The New Haven, Conn. native and Grammy-nominated artist (Be Water), who now calls Los Angeles home, is having a great year. Not only is he touring and reveling on a successful Hollywood Bowl debut, but he is set to release his latest CD, ‘Embracing Dawn,’ on September 27, with ‘MMC’ as the first single to drop.

Christian Sands

I caught up with Sands (CS), who received a B.A. and a Masters from the Manhattan School of Music, recently to talk about his career. 

DD: When did you first discover the piano?  

CS: The piano chose me. I started playing when I was one year old. The story goes that I would never pound the keys. I would use my fingers to play the piano. We had an upright spinet, and my aunt bought me an upright piano. Lessons started when I was four. I studied classical piano at four. A family friend, a musical director of a church recommended to my parents that I take piano lessons. She passed away when I was five. She left her piano to me in her will. I still own it today. 

DD: Describe what you felt like when you heard the piano.

CS: It's the same now. It’s joy. It’s a place of safety. It’s a place of exploration and pure expression. I still have the same feelings.

DD: When did you get serious about it?

CS: I’ve been performing professionally since I was seven years old. Music is just who I am. That’s a hard question to answer. When I figured out I could make this a living career, I was probably about 14 or 15. I had a steady performance job at a restaurant called Sage in New Haven. I played every Friday. I got paid and I got tips.

DD:  When you were growing up did you ever think you would play the Hollywood Bowl?

CS: No.  Well, yes, eventually. I had no clue at all. 

DD: What are your feelings about that venue? 

CS: I’m very excited. Always wanted to. I’ve seen many wonderful shows there. It’s an honor to play with those musicians. 

DD:  Talk about playing with Christian McBride at the Hollywood Bowl.  Are you two friends? How long have you known him? What’s the relationship?

CS: He’s sort of like my older brother. We’ve known each other since 2010. We used to work together a lot. I was a part of his trio, The Christian McBride Trio. That was my entryway into the pros.  We just performed for Blue Note Napa Festival recently. That’s my brother from another mother. 

DD: Talk about your new album ‘Embracing Dawn’. Why that title?

CS: The title came from the creation of the record. The record was birthed through transition, heartache, trying to find a place of healing and understanding, and about what comes next in one’s life. I wanted to create a space for people to go to. It’s embracing the next steps. The new day. For me, it was a change in relationship, a change in the scope of myself, and a change from the East Coast to the West Coast. 

DD: How long did this latest album take to produce/record?

CS: It took me about a year to write the music. I was trying to capture different aspects of what someone goes through with grief, happiness, hope, and failure. I also wanted to write music about it – as I was going through it. There are nine cuts on the album. 

DD: Talk about the first single, “MMC.” – Moms Mac and Cheese. How did this song come about?

CS: With MMC – we think about the forms of healing and transition. One of those things that helped me was always having a good, home-cooked meal. It’s more about the sustaining of one’s soul. Any time you get a good meal, it does something to your soul. It reminds you everything is going to be cool. Who better than one’s mother who makes a wonderful bowl of MMC? It’s also about showing that there is a place where one can be fulfilled in their soul. Part of that is cuisine.

DD: How would you describe your music?

CS: It’s me. It’s steeped in the traditions of American Black music, classical, jazz, and funk.  I’m a product of that. It’s also creative. I write music to tell stories of people, America, my people, and experiences.

DD:  What do you struggle with as an artist?

CS:  Everything. There are so many things to struggle with. You'd have to be more specific. I struggle with everything everyone else struggles with, a stable home, finances, and relationships. I am fine with how to create.

DD:  How often do you tour?

CS:  Every day. I’m usually on the road 80% of the year.

DD: What do you like and dislike about touring?

CS: I like that I get to experience the world, people, culture, and different ideals, I get to learn stories of humanity. No matter where I am, people love music. They love my music. I’m so appreciative.

DD: Do you switch up your repertoire depending on where you are in the world?

CS: I can play the same thing in America, that I play in Brazil, Budapest, Copenhagen, or Italy.  I have fond memories of every place I’ve gone. The bad part is the travel. It’s the up and down, and the lack of sleep.

DD: What does music do for you?

CS: It allows me to travel and communicate. I can talk to you with my instrument. I can say what I truly feel.  Music allows you to transform language.

It’s a storyteller.

DD: When you are performing, are you conscious of the audience?

CS: The audience is part of the band. If they are not into it, I’m not into it. I’m conscious of everything.

DD: Ten years from now – what do you want to be and what do you hope to be doing?

CS: I’ve been trying to figure that out. What I want to be doing is institution building. I’m somebody who believes in giving back to the well that has fed and watered you. That can be me either performing, teaching, or being an artistic director of something I’ve created.

'Kill Move Paradise' Looks At Black Brotherhood In The Afterlife

By Darlene Donloe

Pulitzer Prize-winning playwright James Ijames (2022-Fat Ham) isn’t afraid to go there. 

He likes to do deep dives and evoke uncomfortable questions that audiences are encouraged to answer for themselves based on what they believe they saw on the stage. 

His 2017 drama, ‘Kill Move Paradise,’ currently enjoying its Southern California premiere at the Odyssey Theatre in West L.A., is a sampling of Ijames’ diverse works.

(l-r) Jonathan P. Sims, Ulato Sam, Cedric Joe, and Ahkei Togun

The story is about four Black men, torn from the world without warning, who find themselves in a cosmic waiting room in the afterlife, which is described as being “reminiscent of Elysium” - the Greek paradise inhabited by only the most heroic or virtuous souls.

One by one we see the men being tossed down a giant slide from which there is no return.

And, one by one, they challenge their earthly fates, while trying to make sense of their new life, or in this case – death journey. 

Ulato Sam

Isa, played by Ulato Sam, is the first one to find himself alone in a waiting room of sorts. As his eyes adjust, he notices a printer, the inquisitive eyes of the audience, and nothing else. Perplexed as to how he ended up there, he enlists the help of the audience – but to no avail. He tries to remember the last thing that happened before he awakened in his sparse digs.  As things start to slowly come to his remembrance, including his proximity to law enforcement, he asks the question, “At what age is a Black boy when he learns he’s scary? At eight?”  It’s a provocative question that permeates the Black community.

(l-r) Ulato Sam, Ahkei Togun, and Jonathan P. Sims

Next to drop in is Grif, played by Jonathan P. Sims, then Daz, played by Ahkei Togun, and later a youngster named Tiny, played by Cedric Joe. The three older men are thrown for a loop at Tiny’s youth and his presence in the waiting room.  Tiny is still holding a toy AK47 when he tumbles to his fate. 

Why they are there and the question about their fate is a conundrum to the quartet, who quickly bond to figure out their circumstances. 

Ijames has crafted a thought-provoking, stimulating, and amazing drama that explores humanity on its raw terms. 

The cast of 'Kill Move Paradise'

“I wanted to create a space in which the humanity of the people on stage is undeniable,” Ijames said in an interview. “These characters embody all the ways in which we try to be human. They are jealous, they are kind, they are maternal and paternal, they are pushed physically to the edge of something and then fall. I always say that I hope this play becomes obsolete one day. That’s like a crazy thing for a playwright to say. But I hope one day that people will say we don’t need to do this play anymore because we are different. We are better.” 

While Isa has had time to evaluate his life and death, Daz, Grif, and Tiny find it easier to play, sing, tease, and uplift one another as they’re forced to confront how they arrived in this unearthly place. 

This show has some heart-breaking moments, especially when each man tries unsuccessfully to fling themselves back across a steep, angled slide that brought them there. 

Their realization that they are each, indeed, dead is a sobering moment for the men, who try to remember their last moments of life.

(l-r) Ulato Sam, Ahkei Togun, and Jonathan P. Sims

A sense of melancholy bathes the hushed theatre during a scene when Isa reads the names of an ever-growing list of slain Black men and women, coupled with the fear and threat of death the men continue to face daily. 

Some heads bowed and several theatergoers shed a tear as familiar names like Breonna Taylor, Eric Garner, Trayvon Martin, Sandra Bland, George Floyd…and others not as well known -  were read out loud - all being the victims of “death by cop”. For those who understand the agonizing significance, it’s a painful moment in the show – that takes your breath away, especially as the printer continues to pour out the never-ending names. 

The men soon find out that they are not stranded forever. This is just a stopover on their way to eternal bliss. 

(l-r) Ulato Sam, Cedric Joe, Ahkei Togun, and Jonathan P. Sims

Even though the dialogue is filled with righteous indignation, considering the subject matter, Ijames’ showed some restraint in this tome. 

Ijames’ light, sometimes comical injections help the audience to digest this heavy show. 

For instance, there are interludes of a painfully “playful” nature, as when Tiny has an imaginary, sitcom-esque reunion with his parents, complete with a laugh track, and when the men act out a surreally over-the-top childhood game. 

'Kill Move Paradise' is a captivating reminder of our collective humanity.

Kudos to Sam, Sims, Togun, and Joe, who through their acting and their physical performances – push the story forward.

Gregg T. Daniel

A story like this could only be put in the hands of a masterful director like Gregg T. Daniel, who has proven, time after time, that he knows how to bring a production and its emotional penalties to life. Kudos to Daniel, who has helmed several August Wilson plays at A Noise Within. He had his hands full with this one. ‘Kill Move Paradise’ at its guttural core, is no easy play to interpret. 

“Kill Move Paradise deals with ongoing violence against Black and Brown people in a highly original and unique way,” said Daniel. “The audience will laugh… while also feeling invested in the pain our heroes are feeling. We relate to these four young men as they find the humor in their situation, celebrate their culture, and revel in one another. It’s hard to hate someone when you get to know them. This is a kind of politically motivated theater I haven’t seen in some time.” 

‘Kill Move Paradise’ is a “must-see.” 

‘Kill Move Paradise,’ written by James Ijames, directed by Gregg T. Daniel, and produced by Sally Essex Lopresti, stars Cedric Joe, Ulato Sam, Jonathan P. Sims, and Ahkei Togun. 

Kudos to Toran Xavier Moore (choreographer), Donny Jackson (lighting designer), David Gonzales (sound designer), Stephanie Kerley Schwartz (scenic designer), and Wendell C. Carmichael (costume designer). 

On the DONLOE SCALE: D (don’t bother, O (oh, no) N (needs work), L (likable), O (oh, yeah) and E (exceptional) ‘Kill Move Paradise’ gets an E (exceptional). 

Running time: 80 minutes with no intermission. 

‘Kill Move Paradise’, Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, CA; 8 p.m., Fri.-Sat.; 2 p.m. Sun.; 8 p.m. Wed., Sept 25 and Oct. 16; through Nov. 3, 2024; $20 - $40, with an additional $3 per ticket fee if using a credit card. “College Nights” on Friday, Sept. 27, and Friday, Oct. 18 are Pay-What-You-Can (reservations open online and at the door starting at 5:30 p.m.). For more information and to purchase tickets, (310) 477-2055 or OdysseyTheatre.com.

 

R&B/Gospel Singer Lady Harmony is "Too" & "Too"

R&B/Gospel singer-songwriter Lady Harmony aka LeNaSa Deshon Scott draws inspiration from her faith and real-life experiences, using her sharp instincts to create music that speaks to both worlds. Finding the balance in her life for both the street and the church is the muse she explores on the 22-song double album that she wrote and produced titled “Too Street For The Church & Too Church For The Street.” The N Harmony Records release drops this Sunday (September 15).   

Lady Harmony’s unlikely story since October 2021 when she began releasing a new song and video every Sunday is unique and divinely guided. Since she launched Soulful Sunday, the title she gave her weekly platform for the new songs and videos, her social media grew exponentially, and her consistency was rewarded with tens of millions of streams and views. Scott has an innate gift of being able to communicate relatable messages and encouraging words of optimism, inspiration, faith, and forgiveness that resonate deeply with the devout audience she has cultivated.

Even more impressive is how Lady Harmony got God to be her radio promoter. That’s the only way to explain how her 2022 single, “Better Than Good To Me,” hit No. 2 on the Billboard gospel chart and generated 11 million views on YouTube without doing any radio promotion. The success of that viral single made Lady Harmony Billboard’s No. 4 top gospel artist on the year-end chart, again, all without the aid of a radio promoter.

“Too Street For The Church & Too Church For The Street” is Lady Harmony’s fourth album on her N Harmony Records imprint. The organic groundswell that she generated during Soulful Sunday - 21 of her tracks have charted in 81 countries - over the last two years led to a global distribution pact for her label with Sony Music’s The Orchard.

Lady Harmony defies standard music industry practices and customs, instead preferring to follow her own intuition. That explains why she’s bucking the industry standard of a Friday album release date for releasing the album on Soulful Sunday. And while the record industry gets further and further away from albums in favor of playing the Spotify singles game, Lady Harmony doubled down quite literally by creating a double album, “Too Street For The Church & Too Church For The Street.”

“I decided to record a double album because I wanted to fully express the duality of my life experiences and my musical influences. Each volume represents a different side of me—one rooted in real-life experiences and the struggles I’ve faced, and the other deeply connected to my faith and spiritual journey. Both sides are equally important, and I felt that a single album wouldn’t do justice to the stories I wanted to tell,” said Scott, who released her debut album, “I Owe It All To You,” in 2006.   

The new album title itself reflects Scott’s own personal and spiritual journey. She fully embraces both sides of her identity and is fiercely committed to being her authentic self because both the street and church have made her who she is while giving her music a broader appeal.   

“‘Too Street for the Church & Too Church for the Street’ perfectly captures my duality. It reflects the tension I’ve often felt, where I don’t fully fit into either world. On one side, my upbringing and life experiences make me too raw and real for some people in the church, and on the other hand, my faith and beliefs set me apart from the streets. The title is my way of embracing both parts of who I am and telling my story without trying to fit into a box. The phrase came to me naturally because it’s how I’ve felt for a long time—caught between two worlds but belonging to both,” said Scott, who resides in San Diego.

The rich culture, traditions, and values of her Baton Rouge, Louisiana hometown have always been important to Scott. She celebrates her upbringing on the album opener, “Louisiana,” saying, “The song is a reflection of the intricacies of the way of life that shaped me.”

While most of the project is unadulterated Lady Harmony, baring her heart and soul while singing with passion, purpose, and power, she shares the spotlight on the track “Broken Family Ties featuring Boosie Badazz,” the rapper who is a fellow Baton Rouge native.

“The story behind Boosie being on this album was another act of God. Boosie heard the Soulful Sunday remixed version and reached out to me to collaborate on the song. I was so excited and very much taken aback when he reached out. His verse was a perfect addition to the song,” said Scott.

Again, flying in the face of industry convention, Lady Harmony published her first book last month, “The Book of Harmony,” which is a collection of her writings and songs.

“‘The Book of Harmony’ is a companion piece to the album, serving to help guide the reader through the journey of life. It’s life lessons and the melody of resilience, offering solace through adversity and inspiration for daily living. The book is a collection of my writings, song lyrics, and personal reflections that invites readers to explore love, perseverance, and personal growth leading to self-discovery and cultivating inner strength,” Scott said.

Lady Harmony plans to tour this fall in support of “Too Street for the Church & Too Church for the Street” and “The Book of Harmony,” with details soon to be announced.

“Too Street For The Church” contains the following songs:

“Louisiana”

“Good Intentions”

“Been There Done That”

“Just Keep On Living”

“Broken Family Ties featuring Boosie Badazz” (remix)

“When People Don’t Know Your Business” (extended version)

“Optimism” (version)

“Peace Of Mind” (remix)

“I Came Out On Top”

“The Few Good Men”

“You Only Have One Life”

“Too Church For The Street” contains the following songs:

“He Keeps On Waking Me Up”

“It’s Time To Pray”

“Better Than Good To Me”

“Good To Me” (remix)

“Lord I Need You”

“I’ve Never Seen”

“Wait It Out”

“Walk In The Promise” (remix)

“He Keeps On Forgiving Me” (remix)

“Thank You” (version)

“I’m A Soldier”

For more information, visit https://ladyharmonyofficial.com.

#  #  #

 

CeCe Winans Announces 28-City Tour For 2025

CeCe Winans

(Los Angeles, CA) - The unstoppable, multiple award-winning artist CeCe Winans, is gearing up for another extraordinary tour. While her Christmas Tour, featuring special guest Roman Collins, is nearly sold out, fans have more to look forward to.

Get ready for an unforgettable experience! Fresh off the release of her new album  More Than This, the 15-time Grammy winner is gearing up for her biggest tour ever-the CeCe Winans More Than This Live in Concert Tour! This extraordinary event will take CeCe's powerful live experience to 28 cities across the U.S., redefining the worship encounter with a mix of her biggest hits and brand-new fan favorites. Don't miss out. Visit www.cecewinans.com<http://www.cecewinans.com> to see if she's coming to a city near you!

Winans shares her excitement about the upcoming tours, saying, "I'm deeply humbled by the outpouring of love and support. Seeing the Christmas Tour nearly sold out is an incredible blessing. This journey has been beyond amazing, and I'm so grateful to keep sharing God's message through music. The 'More Than This' tour is going to be truly special, and I can't wait to see what God has in store for all of us."

More Than This (PureSpring Gospel/Fair Trade Services), features the hit single

'That's My King,' is #1 on the Billboard Gospel Airplay Chart and has become Winans' most-played CCM radio release to date. The song currently ranks in the Top 5 on three different charts: Mediabase Christian Audience (#5), Mediabase Christian AC (#5), and Billboard Christian AC (#5).  Meanwhile, her signature songs 'Goodness of God' and 'Holy Forever' continue to be fan favorites.

CeCe is thankful to partner again with her friends at Compassion International and Transparent Productions to bring this tour to life.

MORE THAN THIS TOUR - WINTER / SPRING 2025

  *  Feb. 12 - Canton, OH - Canton Memorial Civil Center

  *  Feb. 13 - Grand Rapids, MI - Grand Rapids First

  *  Feb. 14 - Minneapolis, MN - Grace Church

  *  Feb. 19 - Kansas City, MO - Sheffield Family Life Center

  *  Feb. 20 - Wichita, KS - Central Community Church

  *  Feb. 21 - Colorado Springs, CO  - New Life Church

  *  Feb. 27 - Los Angeles, CA (Cypress) - Seacoast Grace Church

  *  Feb. 28 - Corona, CA - Crossroads Christian Church

  *  Mar. 1 - San Diego, CA - Rock Church

  *  Mar. 5 - Tulsa, OK - Victory Church

  *  Mar. 6 - San Antonio, TX - Summit Church

  *  Mar. 7 - Tyler, TX - Green Acres Baptist Church

  *  Mar. 12 - Ft. Myers, FL - First Assembly of God

  *  Mar. 13 - Lakeland, FL - Family Worship Center

  *  Mar. 14 - Orlando, FL (Longwood) - Northland Church

  *  Mar. 19 - Monroe, LA - North Monroe Baptist Church

  *  Mar. 20 - Birmingham, AL - Church of the Highlands

  *  Mar. 21 - Little Rock, AR - The Church at Rock Creek

  *  Mar. 26 - Washington, DC (Vienna, VA) - McLean Bible Church

  *  Mar. 27 - Buffalo, NY - The Chapel, CrossPointe Campus

  *  Mar. 28 - Lynchburg, VA - Thomas Road Baptist Church

  *  Apr. 2 - Texarkana, AR - First Baptist Church Texarkana

  *  Apr. 3 - Lake Charles, LA - Glad Tidings Church

  *  Apr. 4 - Pensacola, FL - Olive Baptist Church

  *  Apr. 9 - Baton Route, LA - The Healing Place

  *  Apr. 10 - Albany, GA - Sherwood Baptist Church

  *  Apr. 11 - Jacksonville, FL - The Potter's House International Ministries

  *  Apr. 14 - Nashville, TN - Ryman Auditorium - Ryman Auditorium (A HOLY WEEK CELEBRATION)*

*All dates are promoted by Transparent Productions except the Ryman Auditorium concert on April 14th.  That concert is promoted by the venue themselves.

====================================================

GENERATIONS CONFERENCE:

  *  May 9-10 - Nashville, TN - Generations Conference

====================================================

REMAINING 2024 TOUR DATES:

  *  Sep. 19 - Toronto, CA - Sold Out

  *  Sep. 21 - Moncton, NB

  *  Dec. 4 - Reading, PA (Christmas)

  *  Dec. 5 - Charlotte, NC (Christmas) - Sold Out

  *  Dec. 6 - Norfolk, VA (Christmas) - Sold Out

  *  Dec. 11 - Knoxville, TN (Christmas) - Sold Out

  *  Dec. 12 - Savannah, GA (Christmas) - Sold Out

  *  Dec. 13 - Milner, GA (Christmas) - Sold Out

  *  Dec. 18 - Ft. Wayne, IN

  *  Dec. 19 - Tysons, VA (Christmas) - Sold Out

  *  Dec. 20 - Newark, NJ

The Crockett Project's Latest Single is 'Brand New'

Entering a transitional time in his life, guitarist Kevin Crockett was apprehensive about what loomed ahead. But as a devout man of faith, he leaped into the unknown anyway. That move from big city Boston after graduating Berklee College of Music to smalltown Franklinton, North Carolina led to meeting his future wife, becoming a member of a new church ministering with the praise and worship team; and taking on a new focus: launching The Crockett Project, his gospel/Christian group. Crockett journaled the transformative experience and set it to music as “Brand New,” the single that he wrote and produced dropping last Friday (August 23).

The prospect of relocation stirred uncertainty in Crockett as he contemplated all the unknowns the move would bring. But then he shifted his mindset to listening to the still small voice inside that was calling him to take the leap and trust in God’s will. Crockett surrendered and changed his life in unimagined ways.

“‘Brand New’ is intended to be a celebration of being new on the inside through Christ. It was written in a time of personal transition as far as direction in my life. God was telling me to make a move. I also knew that once I made that move everything would be new: new focus, new surroundings, new church, and new people. The single was written about being new on the inside, which can and did affect every part of my life,” said Crockett, who plays electric and acoustic guitar on the track.

Mixing gospel, jazz fusion, and soulful R&B, “Brand New” is a vocal song featuring two powerfully illuminating lead voices, Jalisa Faye and Quayshaunna Massey. Massey and Kimberly Chante’ add celestial background vocals. Mid-tune Dave Percell issues a stirring acoustic guitar sermon, slashing and burning through the wall of keyboards constructed by Crockett, Nile Hargrove, Jairus McNeil, and David McNeil. Jimmy Brown (bass synth) and Damir Watson (drums) anchor the rhythmic groove.

“Brand New” will appear on The Crockett Project’s debut album, “Faith is the Key,” which is tentatively slated for release next summer. Crockett has released singles as The Crockett Project in the gospel and Christian genre. Their debut gospel single “Your Word” (2017) was followed by the instrumental “Glory” last year. In the jazz realm, Crocket releases music under his own name. 2022’s "Cruizin' in the Wind" and 2023’s “Be Light There” hit Billboard’s most added list in their debut week of release.  

Crockett grew up in Washington, DC where he played in local bands and gospel groups. After he finished his schooling, his professional career touring and performing with dozens of smooth/contemporary jazz artists took off. His resume includes gigs with Kim Scott, Marcus Anderson, Willie Bradley, Lin Rountree, Ragan Whiteside, Gino Rosaria, Althea Rene, Art Sherrod Jr., Eric Darius, Jazmin Ghent, Jeanette Harris, Marqueal Jordan, Reggie Codrington, George Freeman, Patrick Lamb, and Brooke Alford. Crockett is a member of World Overcomers Christian Church and ministers on his instrument as a part of the praise and worship team.

For more information, visit https://www.thecrockettproject.com.

 

'The Brothers Size,' At The Geffen, Measures Up

By Darlene Donloe

In the fictional town of San Pere, Louisiana, two brothers, Ogun Size (the oldest) and Oshoosi Size are living life while trying to heal their relationship. 

While they are genetically related, they may not be cut from the same cloth. 

Ogun, the owner of an auto mechanic shop, and the more stable of the two, wants desperately for his brother, Oshoosi, who recently got out of prison, to get his life together – starting with getting a job.  

Oshoosi, who has been staying with his brother – but not contributing to the household, wants to hold off on getting a job for a while, so he can enjoy his carefree life.   

Things take a turn when Elegba, who was in prison with Oshoosi, comes for a visit.  Ogun (Sheaun McKinney) doesn’t believe Elegba is a good influence on his brother – but he gives him the benefit of the doubt.  

(L-R) Sheaun McKinney, Alani iLongwe, and Malcolm Mays

The brothers’ relationship is tested when Elegba (Malcolm Mays) tempts Oshoosi (Alani iLongwe) back to his old habits. 

Elegba, who is clearly up to no good, hints at romantic feelings for Oshoosi that the playwright doesn’t give much mileage throughout the show – opting to lean more toward a masculine examination.  

As the brothers grapple with loyalty, freedom, and responsibility, their humanity is revealed through a raw and heartfelt exploration of the bonds of brotherhood. 

The revival of ‘The Brothers Size,’ written by Geffen Playhouse Artistic Director Tarell Alvin McCraney, is currently playing at The Geffen Playhouse through September 8, 2024. 

(L-R) Alani iLongwe and Sheaun McKinney

The play is part of McCraney’s  acclaimed trilogy “The Brother/Sister Plays,” which includes “In the Red and Brown Water,” and “Marcus: or the Secret of Sweet.” 

It’s essentially a brotherly love story that touches on the angst of Black masculinity and the fragility of living while Black in a white supremacy world that doesn’t place much value on Black life.  

Oscar-winning screenwriter McCraney (Moonlight) is having quite the year. He’s kicking off his inaugural season helming the Geffen and his acclaimed play, ‘The Brothers Size,’ is celebrating its 20th anniversary in the Playhouse’s Audrey Skirball Kenis Theater. 

After two decades, this show is just as potent, volatile, and relevant as it was when it was first introduced.

(L-R) Malcolm Mays and Sheaun McKinney

The 90-minute, one-act play draws from the rich tradition of the Yoruba people of West Africa. The names of the characters are taken from Yoruba mythology. Ogun is a warrior associated with metalwork; Oshoosi is named after a wandering spirit renowned for hunting as well as contemplation and artistic pleasure, and Elegba implies the trickster.  The Yoruba are a diverse group of tribes that share a common language and culture and make up about 20% of Nigeria’s population. 

McCraney’s dialogue has a natural rhythm and is poignant, humorous, in-your-face, and authentic. 

The banter between the brothers is crisp and fast. 

The chemistry between the brothers, and their easy familial conversation is what drives the show.  

McCraney’s decision to have the characters speak the directions, i.e., the character Ogun saying, ‘Ogun gets under the car,’ just before Ogun gets under the car, is both histrionic, hilarious, and adds a great deal of texture. 

Stan Mathabane

The production, sans a set, save for a musician upstage center, keeps a fast pace – thanks to Director Bijan Sheibani, who effectively moves the three characters around the circular stage.  Instead, the black stage is designated by a circle of white powder. With no furniture on the stage, the actors can fully engulf the space – which works tremendously.  Even without props, walls, and furniture – the dialogue, direction, and acting bring it all to a visual elegance within everyone’s pure imagination. The intimate setting makes for a powerful production with the actors only an arm’s length away.

Sheibani gets stellar performances from iLongwe, Mays, and McKinney. 

iLongwe is tasked with the heavy lifting emotionally. His emotions drift between happiness, sadness, fear, doubt, anxiety, excitement, confusion, elation, and more. It’s a tour-de-force performance. 

McKinney, who appeared in the show before The Geffen production, delivers a solid, sometimes comical, performance, as does Mays.   

All three actors are worthy opponents.  

The sequence where they dance and sing, similar to fraternity brothers steppin’, is brilliant.  The second dance number, which includes just the brothers singing and dancing to Otis Redding’s “Try A Little Tenderness” – is exceptional and displays the one-time youthful joy of the brothers. 

Their joy is quickly squashed. The end of the show is incredibly emotional – but is a gut-wrenching display of brotherly love. 

Don’t sleep on this show. The music, acting, direction, and writing are firing on all cylinders! 

Juel D. Lane’s choreography is so fierce, it’s like a fourth character.  

Tarell Alvin McCraney

‘The Brothers Size,’ directed by Bijan Sheibani, and written by Tarell Alvin McCraney, stars Alani iLongwe, Malcolm Mays, and Sheaun McKinney. Stan Mathabane - bass flute, drone flute, talking drum, Djembe, Dununba, Sangban, bell, Skekere, tenor sax, and bar chimes. ‘The Brothers Size’ is a Co-Production with New York’s The Shed. 

Kudos to Suzu Sakai (scenic designer), Dede Ayita (costume designer), Adam Honore (lighting designer), Stan Mathabane (sound designer and composer), and Juel D. Lane (choreographer).

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘The Brothers Size’ gets an E (excellent).

Running time: 90 minutes. No intermission. 

‘The Brothers Size,’ Audrey Skirball Kenis Theater at Geffen Playhouse, 10886 Le Conte Ave, Los Angeles, CA; 8 p.m. Wed.-Fri., 3 and 8 p.m. Saturdays, 2 and 7 p.m. Sundays, through Sept. 8; $45-$129; 310 208-2028 or www.geffenplayhouse.org.