Understated yet elegant, the Black Voices sing with polish and expertise.
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Under the direction of Carol Pemberton MBE, the Black Voices state that their mission is to celebrate the black oral tradition – a tradition based on ancient African folklore imparted to the diaspora. Their repertoire includes renderings of African, Caribbean, and English folk songs and spirituals, as well as tributes to pioneering black female artists. Earlier this year, they received a rapturous reception at the Royal Albert Hall’s Elgar Room for their tribute to Nina Simone.
Last night at the Jazz Cafe – a prominent live music space in Camden, North London – the Black Voices delivered a tribute to the recently departed Queen of Soul Aretha Franklin.
Their formula is one of sophisticated, layered vocal arrangements, with usually one or two of the singers delivering lead vocals. Though known for their a cappella performances, last night they were accompanied by a band for both sets. The amplification of the band did somewhat obscure the vocal alchemy at times; some pure a cappella renderings were necessary. But the group’s commanding presence and coordination with each other was to be admired.
The first set, focusing on Aretha Franklin’s 1960s and ’70s discography, was conspicuously absent of some of the more obvious ‘anthems’: ‘(You Make Me Feel Like) A Natural Woman’, ‘Respect’, ‘Chain of Fools’. Instead, the group took some pleasant detours from outside the usual canon, including ‘Groovin’ (from Aretha: Lady Soul, 1968) and ‘Never Let Me Go’ (from Aretha Arrives, 1967).
The first set’s strongest moments came from Franklin’s 1972 smash-hit Amazing Grace, a live album recorded at the New Temple Missionary Baptist Church in Los Angeles. The Black Voices first tackled ‘Mary Don’t You Weep’, a spiritual about resurrection and salvation. The hums, chants, and call-and-response from the ensemble pulsated with intensity. The mash-up of Carole King’s ‘You’ve Got a Friend’ with the hymn ‘Take My Hand, Precious Lord’, also from Amazing Grace, was enveloping and warm.
The second set featured Ms Franklin’s 1980s discography. A medley of ‘Who’s Zooming Who’, ‘I Knew You Were Waiting For Me’, ‘Sisters Are Doing It For Themselves’, and ‘Freeway of Love’ was infused with gospel energy.
Reflecting briefly on the ills of 2018 (the ‘B’ word was briefly mentioned), the group delivered the Lauryn Hill-penned ‘A Rose Is Still A Rose’. These powerful black voices in unison, with the band dropping in and out, gave riveting force and conviction to the song’s empowering refrain.
(Image taken from Jazz Cafe website with permission)
