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Post by puma on Nov 6, 2011 4:55:50 GMT 1
Yayy!! I can't wait to hear her sing those songs. I predicted 2 out of the 3. LOL.
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Post by Martin00 on Nov 6, 2011 5:00:56 GMT 1
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Post by NJ on Nov 6, 2011 6:20:19 GMT 1
She sped up "Daydreaming" Aretha Franklin surprises crowd with performance at Rock Hall tribute to her Susan Whitall/ Detroit News Music Writer Cleveland — It was meant to be a tribute concert in honor of Aretha Franklin at Cleveland's State Theater Saturday night, but Lady Soul came out for a surprise encore at the end, a "tribute to the tribute," as she called it, the culmination of a week's events at the Rock and Roll Hall of Fame. The Rock Hall's CEO Terry Stewart, who acted as the evening's smooth, informed emcee, had promised the audience a surprise, after almost three hours of song by her friends, admirers and peers, vintage video of a young Aretha, heartfelt comments by fellow musicians and of course, the bestowing of the honorary Case Western University doctorate upon the singer. Franklin hadn't been billed to perform, that was supposedly for Jerry Butler, Chaka Khan, Dennis Edwards of the Temptations, Ronald Isley, Lauryn Hill, Carla Cook, Cissy Houston, Melinda Doolittle and others to do. But when the curtain rose just after 10 p.m., we saw Franklin at the piano. When she sang the first line to the Leon Russell song, "A Song For You" -- "I've been so many places in my life and time," she brought the house down. Standing around her at the piano were Edwards, Butler, Houston and Isley. With its road-weary lyrics about a musician who's used to singing for thousands of people, this time expressing emotion for just one, it was stirring when it became a call and response between Franklin and Edwards. The former Temptation riffed back and forth with Franklin, whose tone these days has that effortless, cool as a breeze sound she had in her youth. Isley threw in a few tenor "Ooos" every so often, but it was essentially a duet. The concert was obviously booked with an eye to reflecting Franklin's evocative voice, with its threads of gospel, R&B, jazz and pop. Butler, the "Ice Man," represented Chicago soul with his usual suave charm; Houston came directly from church with "What a Friend We Have in Jesus," and jazz singer (and native Detroiter) Cook delivered a beautiful rendition of the standard "Skylark," a song in Franklin's catalog during the early part of her career, when she was a sophisticated New York-based pop-jazz singer at Columbia. Edwards' gutbucket, gospel-infused voice, about as deep as a male voice can be, shook the rafters on "Baby I Love You" and "Chain of Fools." Isley performed while seated by a table bedecked with a spray of roses, his one hand waving a pair of bling-encrusted sunglasses as he sang "Call Me" with irrepressible elan, and it worked. Khan is probably the singer on the bill Saturday whose approach to a song is most like Franklin's, she never overdid the melisma, as Doolittle sometimes did, but has an unerring sense of dynamics, knowing when to blow the roof off, and when to modulate. Hill delivered an interestingly speeded-up, version of Franklin's "Daydreaming," but the vibe was soured by angry motions she was making to her band.Subbing for Patti Austin, who was ill with the flu and couldn't appear, was Detroit's own Twinkie Clark, who sat at a Hammond B3 and tore it up with flat-out gospel on Clara Ward's "Never Grow Old." After she'd finished, Stewart said "I don't even think I can talk after that." The performer who, on the surface, would appear to have the least in common with Franklin was Mike Farris from Nashville, who said he was honored as a "country boy" to be invited to the party at all. And indeed, Farris looks like the bassist in an indie rock band until he opens his mouth. Then he's a scorched-earth, Southern gospel singer who came out swinging with a version of the old spiritual "Mary Don't You Weep" that had the capacity theater rocking. Farris summed the evening's subject up nicely, chatting about the Queen of Soul backstage. "She has a unique emotive power in her voice and her being," Farris said." Aretha sings, not because she wants to but because she has to." Earlier in the day, Franklin toured the Rock and Roll Hall of Fame dressed in a leopard-print coat, startling visitors who gaped at her and snapped cell phone photos. As she and her friend Willie Wilkerson strolled through the exhibits, upstairs her longtime collaborator, drummer Bernard Purdie, was answering a question. What was the most remarkable Franklin song he ever worked on? No question, "Until You Come Back to Me," the Stevie Wonder composition. "She singing to me, and I'm playing to her," Purdie said, aglow. "It was magical. She was at the piano. It was one of those days when everything was perfect. The stars were in alignment. We spoke as one. When she sang, I had my foot right where it was supposed to be. My fill was right where it was supposed to be. "I'm in awe," Purdie said, "because it is the most perfect song in the world." From The Detroit News: detnews.com/article/20111106/ENT04/111060317/Aretha-Franklin-surprises-crowd-with-performance-at-Rock-Hall-tribute-to-her#ixzz1ctpbSMwX
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Post by Martin00 on Nov 6, 2011 6:41:28 GMT 1
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Post by Essence on Nov 6, 2011 7:53:31 GMT 1
She sped up "Daydreaming" Aretha Franklin surprises crowd with performance at Rock Hall tribute to her Susan Whitall/ Detroit News Music Writer Cleveland — It was meant to be a tribute concert in honor of Aretha Franklin at Cleveland's State Theater Saturday night, but Lady Soul came out for a surprise encore at the end, a "tribute to the tribute," as she called it, the culmination of a week's events at the Rock and Roll Hall of Fame. The Rock Hall's CEO Terry Stewart, who acted as the evening's smooth, informed emcee, had promised the audience a surprise, after almost three hours of song by her friends, admirers and peers, vintage video of a young Aretha, heartfelt comments by fellow musicians and of course, the bestowing of the honorary Case Western University doctorate upon the singer. Franklin hadn't been billed to perform, that was supposedly for Jerry Butler, Chaka Khan, Dennis Edwards of the Temptations, Ronald Isley, Lauryn Hill, Carla Cook, Cissy Houston, Melinda Doolittle and others to do. But when the curtain rose just after 10 p.m., we saw Franklin at the piano. When she sang the first line to the Leon Russell song, "A Song For You" -- "I've been so many places in my life and time," she brought the house down. Standing around her at the piano were Edwards, Butler, Houston and Isley. With its road-weary lyrics about a musician who's used to singing for thousands of people, this time expressing emotion for just one, it was stirring when it became a call and response between Franklin and Edwards. The former Temptation riffed back and forth with Franklin, whose tone these days has that effortless, cool as a breeze sound she had in her youth. Isley threw in a few tenor "Ooos" every so often, but it was essentially a duet. The concert was obviously booked with an eye to reflecting Franklin's evocative voice, with its threads of gospel, R&B, jazz and pop. Butler, the "Ice Man," represented Chicago soul with his usual suave charm; Houston came directly from church with "What a Friend We Have in Jesus," and jazz singer (and native Detroiter) Cook delivered a beautiful rendition of the standard "Skylark," a song in Franklin's catalog during the early part of her career, when she was a sophisticated New York-based pop-jazz singer at Columbia. Edwards' gutbucket, gospel-infused voice, about as deep as a male voice can be, shook the rafters on "Baby I Love You" and "Chain of Fools." Isley performed while seated by a table bedecked with a spray of roses, his one hand waving a pair of bling-encrusted sunglasses as he sang "Call Me" with irrepressible elan, and it worked. Khan is probably the singer on the bill Saturday whose approach to a song is most like Franklin's, she never overdid the melisma, as Doolittle sometimes did, but has an unerring sense of dynamics, knowing when to blow the roof off, and when to modulate. Hill delivered an interestingly speeded-up, version of Franklin's "Daydreaming," but the vibe was soured by angry motions she was making to her band.Subbing for Patti Austin, who was ill with the flu and couldn't appear, was Detroit's own Twinkie Clark, who sat at a Hammond B3 and tore it up with flat-out gospel on Clara Ward's "Never Grow Old." After she'd finished, Stewart said "I don't even think I can talk after that." The performer who, on the surface, would appear to have the least in common with Franklin was Mike Farris from Nashville, who said he was honored as a "country boy" to be invited to the party at all. And indeed, Farris looks like the bassist in an indie rock band until he opens his mouth. Then he's a scorched-earth, Southern gospel singer who came out swinging with a version of the old spiritual "Mary Don't You Weep" that had the capacity theater rocking. Farris summed the evening's subject up nicely, chatting about the Queen of Soul backstage. "She has a unique emotive power in her voice and her being," Farris said." Aretha sings, not because she wants to but because she has to." Earlier in the day, Franklin toured the Rock and Roll Hall of Fame dressed in a leopard-print coat, startling visitors who gaped at her and snapped cell phone photos. As she and her friend Willie Wilkerson strolled through the exhibits, upstairs her longtime collaborator, drummer Bernard Purdie, was answering a question. What was the most remarkable Franklin song he ever worked on? No question, "Until You Come Back to Me," the Stevie Wonder composition. "She singing to me, and I'm playing to her," Purdie said, aglow. "It was magical. She was at the piano. It was one of those days when everything was perfect. The stars were in alignment. We spoke as one. When she sang, I had my foot right where it was supposed to be. My fill was right where it was supposed to be. "I'm in awe," Purdie said, "because it is the most perfect song in the world." From The Detroit News: detnews.com/article/20111106/ENT04/111060317/Aretha-Franklin-surprises-crowd-with-performance-at-Rock-Hall-tribute-to-her#ixzz1ctpbSMwX Wow. Either Ms. Hill needs to watch her own performances on footage, and see how irritating the "angry motions" really are, or simply hire a new band, who will play so well that she won't need to constantly motion them. Anyway, on the bright side, it seems like her voice was in better shape, since no one has mentioned that yet.
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Post by gest on Nov 6, 2011 8:20:59 GMT 1
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Post by gest on Nov 6, 2011 8:48:35 GMT 1
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Post by Nutzz on Nov 6, 2011 12:34:19 GMT 1
Well, I don't think she gave information about new music during the show... The reviews are brief, there's not much about Lauryn (For a headliner...) ! Hope we'll have complete videos soon !! Finally she seemed to have done it well !
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Post by ladona on Nov 6, 2011 14:15:30 GMT 1
Short clip, but she sounds good . There aren't any reviews/videos out on "One Step Ahead" and " A Rose is Still a Rose." She looks beautiful.
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Post by ladona on Nov 6, 2011 14:39:37 GMT 1
She sped up "Daydreaming" Aretha Franklin surprises crowd with performance at Rock Hall tribute to her Susan Whitall/ Detroit News Music Writer Cleveland — It was meant to be a tribute concert in honor of Aretha Franklin at Cleveland's State Theater Saturday night, but Lady Soul came out for a surprise encore at the end, a "tribute to the tribute," as she called it, the culmination of a week's events at the Rock and Roll Hall of Fame. The Rock Hall's CEO Terry Stewart, who acted as the evening's smooth, informed emcee, had promised the audience a surprise, after almost three hours of song by her friends, admirers and peers, vintage video of a young Aretha, heartfelt comments by fellow musicians and of course, the bestowing of the honorary Case Western University doctorate upon the singer. Franklin hadn't been billed to perform, that was supposedly for Jerry Butler, Chaka Khan, Dennis Edwards of the Temptations, Ronald Isley, Lauryn Hill, Carla Cook, Cissy Houston, Melinda Doolittle and others to do. But when the curtain rose just after 10 p.m., we saw Franklin at the piano. When she sang the first line to the Leon Russell song, "A Song For You" -- "I've been so many places in my life and time," she brought the house down. Standing around her at the piano were Edwards, Butler, Houston and Isley. With its road-weary lyrics about a musician who's used to singing for thousands of people, this time expressing emotion for just one, it was stirring when it became a call and response between Franklin and Edwards. The former Temptation riffed back and forth with Franklin, whose tone these days has that effortless, cool as a breeze sound she had in her youth. Isley threw in a few tenor "Ooos" every so often, but it was essentially a duet. The concert was obviously booked with an eye to reflecting Franklin's evocative voice, with its threads of gospel, R&B, jazz and pop. Butler, the "Ice Man," represented Chicago soul with his usual suave charm; Houston came directly from church with "What a Friend We Have in Jesus," and jazz singer (and native Detroiter) Cook delivered a beautiful rendition of the standard "Skylark," a song in Franklin's catalog during the early part of her career, when she was a sophisticated New York-based pop-jazz singer at Columbia. Edwards' gutbucket, gospel-infused voice, about as deep as a male voice can be, shook the rafters on "Baby I Love You" and "Chain of Fools." Isley performed while seated by a table bedecked with a spray of roses, his one hand waving a pair of bling-encrusted sunglasses as he sang "Call Me" with irrepressible elan, and it worked. Khan is probably the singer on the bill Saturday whose approach to a song is most like Franklin's, she never overdid the melisma, as Doolittle sometimes did, but has an unerring sense of dynamics, knowing when to blow the roof off, and when to modulate. Hill delivered an interestingly speeded-up, version of Franklin's "Daydreaming," but the vibe was soured by angry motions she was making to her band.Subbing for Patti Austin, who was ill with the flu and couldn't appear, was Detroit's own Twinkie Clark, who sat at a Hammond B3 and tore it up with flat-out gospel on Clara Ward's "Never Grow Old." After she'd finished, Stewart said "I don't even think I can talk after that." The performer who, on the surface, would appear to have the least in common with Franklin was Mike Farris from Nashville, who said he was honored as a "country boy" to be invited to the party at all. And indeed, Farris looks like the bassist in an indie rock band until he opens his mouth. Then he's a scorched-earth, Southern gospel singer who came out swinging with a version of the old spiritual "Mary Don't You Weep" that had the capacity theater rocking. Farris summed the evening's subject up nicely, chatting about the Queen of Soul backstage. "She has a unique emotive power in her voice and her being," Farris said." Aretha sings, not because she wants to but because she has to." Earlier in the day, Franklin toured the Rock and Roll Hall of Fame dressed in a leopard-print coat, startling visitors who gaped at her and snapped cell phone photos. As she and her friend Willie Wilkerson strolled through the exhibits, upstairs her longtime collaborator, drummer Bernard Purdie, was answering a question. What was the most remarkable Franklin song he ever worked on? No question, "Until You Come Back to Me," the Stevie Wonder composition. "She singing to me, and I'm playing to her," Purdie said, aglow. "It was magical. She was at the piano. It was one of those days when everything was perfect. The stars were in alignment. We spoke as one. When she sang, I had my foot right where it was supposed to be. My fill was right where it was supposed to be. "I'm in awe," Purdie said, "because it is the most perfect song in the world." From The Detroit News: detnews.com/article/20111106/ENT04/111060317/Aretha-Franklin-surprises-crowd-with-performance-at-Rock-Hall-tribute-to-her#ixzz1ctpbSMwX Wow. Either Ms. Hill needs to watch her own performances on footage, and see how irritating the "angry motions" really are, or simply hire a new band, who will play so well that she won't need to constantly motion them. Anyway, on the bright side, it seems like her voice was in better shape, since no one has mentioned that yet. I think people have their own interpretations of how Lauryn directs her band. I'm not bothered by it at all and never saw it as angry or heckling. It's different and stands out only because other artists don't do it. But Lauryn always does things that other artists don't do. That's why she's considered "strange" in the industry. It is interesting that out of the three songs Lauryn did, this reporter decided to focus on that. I ain't mad at her, though; if it killed her vibe, then so be it, but I'm sure it wasn't that serious. I don't know why it's such a big deal with some concert reviewers, especially if she sounded good--and it seems like she did.
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Post by Essence on Nov 6, 2011 16:53:30 GMT 1
Wow. Either Ms. Hill needs to watch her own performances on footage, and see how irritating the "angry motions" really are, or simply hire a new band, who will play so well that she won't need to constantly motion them. Anyway, on the bright side, it seems like her voice was in better shape, since no one has mentioned that yet. I think people have their own interpretations of how Lauryn directs her band. I'm not bothered by it at all and never saw it as angry or heckling. It's different and stands out only because other artists don't do it. But Lauryn always does things that other artists don't do. That's why she's considered "strange" in the industry. It is interesting that out of the three songs Lauryn did, this reporter decided to focus on that. I ain't mad at her, though; if it killed her vibe, then so be it, but I'm sure it wasn't that serious. I don't know why it's such a big deal with some concert reviewers, especially if she sounded good--and it seems like she did. It only becomes a problem when the "heckling" detracts from her singing, which is often the case. I don't mind Lauryn doing things her own way (that's one of the reasons why I like her), but there have been so many instances where she's missed notes or sounded totally off key because she was instead turning around to "motion" the band. Just look at the clips from Rock The Bells ('Forgive Them Father', 'Final Hour', etc). Her flow was off. For this concert, I was hoping [and heard] they would hire a special band that would play for everyone, like what happened at the Michael J. Fox Parkinson's Benefit (The Roots). That way she cannot boss anyone around and can focus on HER. I feel like some of her recent performances would have been more enjoyable if she put her focus into singing, and left the band alone.
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Post by gest on Nov 6, 2011 18:12:05 GMT 1
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Post by puma on Nov 6, 2011 19:03:14 GMT 1
Another Tweet:
DaniCDavis Danita Davis-Merritt My mom said Lauryn Hill killed it last night at the Aretha Franklin tribute event in Cleveland....I knew I should have went.
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Post by guest21 on Nov 6, 2011 19:35:37 GMT 1
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Post by gest on Nov 6, 2011 21:23:55 GMT 1
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