Black Is The Color Of My Voice at Tandanya
The Tandanya building on East Terrace is the home of the Adelaide’s Aboriginal and Torres State Islander Cultural Institution. Established in 1989, it is the oldest institution of its type in the country.
A week ago, the Yes campaign for the national Voice to Parliament was launched at Tandanya. It was an uplifting event with stirring speeches, musical performances and an appreciative, committed audience.
With the Adelaide Festival and Fringe now in full flight, Tandanya is host for a number of artistic events. On Saturday, the talented Apphia Campbell’s wonderful play Black Is The Color Of My Voice brought us the life of Nina Simone. Beginning with her stirring rendition of See-Line Woman, Campbell adopts the persona of Simone in the guise of Mena Bordeaux to tell the story of the legendary singer through imaginary conversations with her late father. Campbell portrays Simone’s life and her journey from child piano prodigy to eventually becoming a non-compromising jazz vocalist immersed in the Civil Rights movement.
Simone’s defiance is seen at an early age when she refuses to play classical piano at a public performance recital unless her parents are given seats at the front of the hall rather than the rear. Her mixed emotions are displayed as she deals with the disappointment and rejection by her mother’s discovery that her daughter has moved from gospel music to the music of the devil – jazz and blues. Then fear and bitterness as Simone experiences domestic violence and the widespread racism of the times.
Accompanying the narrative, Campbell displays her impressive versatility by singing several of Simone’s familiar songs. In the manner of Nina Simone, Campbell’s voice is at times plaintive, at times simmering with rage but always compelling. After a reprise of the jaunty See-Line Woman, Campbell closes her wonderful performance with a powerful version of Feeling Good. Apphia Campbell is a talented writer and performer who has produced an excellent dramatic representation of the life and songs of Nina Simone.
You don’t have to live next to meJust give me my equalityEverybody knows about Mississippi Goddam
(Nina Simone)
Coffee House Blues at the Wheatsheaf
Cal Williams Jnr is a well-known Adelaide blues guitarist. His playing is exceptional, with intricate finger picking or deft slide, playing standard acoustic, cigar box guitar or Donmo resonator. Cal knows his chops. His guitar work, complemented by his high tenor voice takes the listener way down south to the delta, where the blues began. A Cal Williams Jnr show is also a history lesson as he brings stories of those earlier times of the blues music and the blues players. His yarns are laced with good humour and self deprecation. Over the years he has performed concerts on Country blues, Mississippi and Georgia blues and every other type of blues. Many of the artists he pays homage to make repeat appearances – Son House, Mississippi John Hurt, Leadbelly et al.
This year, the subject is Coffee House blues. The scene is set with his usual walk-on from the street outside through the audience to the stage while playing an instrumental opening with fellow trio members, double bass player Kory Horwood and drummer Sean Martin on washboard. Cal brings tales of English folk blues artists who learned their art listening to American negro blues artists, either from their records or from tours made to England. I’m not sure just how much coffee was drunk. Songs from Nick Drake, Bert Jansch, Martin Carthy, Davy Graham and John Martin are all accompanied by a story or humorous anecdote.
An extended guitar intro often leads into the song. Cal’s guitar work is superb and both Kory and Sean are given solo time in the spotlight. Kory is particularly impressive, drawing wondrous sounds from the huge double bass via dextrous use of his fingers or a bow. Davy Graham’s melodic instrumental Anji is wonderful while Blues Runs the Game, by the little known artist Jackson C Frank and Jelly Roll Baker are also highlights. While Cal mentions the latter in association with pianist Otis Spann, his guitar playing is more along the lines of the Lonnie Johnson original. Then it is off to the coffee houses of New York with songs from Rev Gary Davis (when he played the blues he was just Gary Davis), Dylan and Leadbelly. The final two numbers, Leadbelly’s Gallis Pole and the encore song, Death Letter Blues (Son House) provide an opportunity for the trio to really stretch out. All in all, an excellent afternoon, particularly when accompanied by a taste of one of the Wheaty’s special beers.
Wherever I have played the blues have run the game
(Jackson C Frank)
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Peter Crossing loves the pure ‘n natch’l blues. He is a member of the silver fox faction of the Adelaide Uni Greys. He is something of a cricket tragic although admitting to little interest in the IPL or Big Bash forms of the game.
A very enjoyable read Peter. I frequented a couple of Cal Williams Jnr and Co. sets on a Sunday afternoon at the Wheaty recently. Very nonchalant, entertaining and informative. The beer selection at the venue always takes time. His mum and dad and friends are also very proud of him, and are always in attendance when I’ve been in the audience. I’ve had the pleasure of his dad’s company on the golf course and in the clubhouse a few times over the years.
Thanks Daryl. The selection of beers is awesome.Yes, it’s a family affair.
Either Downhearted Blues or I’m So Glad at the nineteenth?