SUGARAY
BLIND ALLEY
It was only a matter of time before word got
out about Southern California’s Caron Rayford, better known as Sugaray.
In recent years, the dapper bluesmant been doing his own seismic
rumble across the sunshine state, especially when his San Diego based
Aunt Kizzy'z Boyz notched second place at the 2006 International Blues Competition.
A few years later, another milestone was reached when
Sugaray relocated to Los Angeles and began hosting a Monday
night blues jam that was frequented by topnotch session men
who had worked with everyone from Aretha Franklin to Steve
Miller to even Kermit the Frog. Among those joining the foray
were rockers Al Kooper and Slash, blues guitarist Hubert
Sumlin and comedian Jim Carey. The experience turned out
to be a networking paradise and as a result, Sugaray's music
director/guitarist Chuck Kavooras had plenty of talent (a total
of 22 musicians/vocalists) to surround his husky, emotive vocalist
for his solo debut.
Whether it's rompin Chicago blues, Memphis Stax-powered
soul, scorching Texas blues or New Orleans-tinged jazz,
Sugaray fields whatever’s his way with confident versatility.
The 7 minute title track is the disc’s crown jewel - infectious
steamy horns, hypnotizing grooves and a building sense
of intrigue. the rendition of B. B. Kings' "You Upset Me Baby''
differs radically from the original; with slow, grinding funk
much like Albert King's rendition on his King Albert Ip. Son
House’s "Death Letter" is amped up with thunderous beats
and Kavooras' blistering leads. If there's any doubt remaining
regarding Sugarays vocals, "I Let Love Slip Through My Fingers"
(one of two Kooper compositions featured here) settles
it. Here, the mammoth of a man really stretches out on the
beautiful tender ballad, unleashing terrific, quaking vibrato
and infinite conviction that can only be a serious outcropping
of a gospel background. Worth checking out.
Sugaray: Press
In a nutshell, "pure old- time blues." Sugaray, born Caron Rayford, has a strong, soulful, bluesy voice. His CD, "Blind Alley," will have you swaying and bouncing . My only problem with the CD is that he only does a couple originals. They are good "Blind Alley" and "I sing the Blues." The title song, "Blind Alley," features some nice horns and soulful background vocals. I want more from him! That aside, I love this CD. He is a big Al Kooper fan (me, too). He does 2 Kooper tunes, including the opening song, "Nuthin I Wouldn't Do ( For a Woman Like You)." He does a wonderful cover here. Nice harmonica and vocals with great lyrics."I'd fight dragons with a toothpick just to prove to you I care."
He also does covers ( very well by the way) of Son House's "Death Letter Blues, "B.B. King's "You Upset Me Baby," Blind Willie Johnson's "Dark Was the Night" and Arthur Adams "You Can't Win For Losing." Also, he shows his strong vocal ability on "I've got to Move "( be it brief).
This CD doesn't lack anything. It has dark, soulful blues and lively, bouncy tunes. People have complained that most of today's newer blues artists are mostly derivations of blues... Blues/Rock, Texas/ Blues and so forth. THIS IS BLUES ! I have suggested that people get CDSs before- this one you MUST buy! ~ Don Vecchio
Sugaray - Blind Alley
Self Release
10 Songs; 40:35 Minutes; Suggested
Styles: Soul, Blues, Gospel
For me, experiencing Sugaray’s wonderful, debut solo album has been a study of the Propinquity Effect. Explained by the Mere Exposure Effect, it holds that the more exposure a stimulus gets, the more likeable it becomes. For example, people generally like a song (or album) more after they have heard it a few times. After a few listens, this CD became very“likeable” to me. However, I first found, and still find, the first fifteen seconds of the first song to be startle reflex style nerve grating.
I can imagine an overly busy radio programmer or reviewer popping in a CD and listening to the first song. Upon hearing an opening of harsh cacophony, that person throws it in the trash and hollers, “Next.” That approach would be totally unfair, but, I am thinking, not unrealistic in this age of sensory and CD overload. Trashing the balance of this album would be tragic because it is chock full of exceptional artistry.
Texas born Caron “Sugaray” Rayford is a big man (6” 5”) with an equally big voice that superbly echoes Muddy Waters and Otis Redding. Growing up in Gospel and Soul, he switched to contemporary music in the San Diego area, singing lead vocals with Urban Gypsys. Soon giving his heart and soul to Blues, he next became lead vocalist for Aunt Kizzy’z Boyz, a Temecula CA Blues band. Aunt Kizzy’z Boyz won second place in Memphis 2006 at the International Blues Challenge.
After moving to Los Angeles, Sugaray met and played with innumerable world-class musicians. His solo career has flourished in LA, and he has done studio vocals on several projects. He has partnered with Chuck Kavooras, a long time LA guitarist and owner of Slide Away Studios who booked artists around Sugaray’s vocals. Kavooras produced and recorded this debut solo project. Sugaray states, “I am so grateful for the high caliber of talent [22 guest artists] that has played on this project.”
Each successive listen revealed the intricate layers of different genres and woven tapestry of diverse and exciting sounds behind Sugaray’s skilled singing adaptations. “Blind Alley’s"” ten songs feature two co-written by Sugaray, “Blind Alley” (Ralph Carter/ Rayford) and “I Sing the Blues” (Sugaray/Chuck Kavooras). It also contains a splendid collection of eight covers by Al Kooper, Blind Willie Johnson, Son House, B.B. King, Arthur Adams, and Joe Gorfinkle.
True deep Blues moments are found on tracks two and three, “Dark was the Night, Cold Was the Ground” and “Death Letter.” Audibly dedicated to Rayford’s late mother, the former features Chuck Kavooras on slide guitar with Sugaray moaning Gospel sorrow. After two minutes, a heart wrenching version of Son House’s "Death Letter" follows with Kavooras adding the best slide guitar since Jack White’s version.
“Blind Alley, the Soulful title, is a great Voo-Doo woman story. At seven minutes plus, this killer is laced with layers of keyboards, sax, trumpet, guitars, and backup vocals.
I swear I hear beautiful Beatles influences in Rayford’s slow and smooth version of Al Kooper’s “I Let love Slip Thru My Fingers.”
As fine of a Blues song as you’d ever want to hear is the slow and intricate “I Sing the Blues.” Sugaray co-wrote it with Kavooras, and once again it features a great lineup of musicians.
For his debut, Sugaray has split the uprights from 55 yards back! This CD is just loaded with wonderful sounds and music, more appreciated with each listen.
Reviewer James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of Ceremonies, and longtime Blues Blast Magazine contributor. His weekly radio show "Friends of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and at www.wkccradio.org in Kankakee, IL. For other reviews and interviews on our website CLICK HERE
Texas born Caron “Sugaray” Rayford began sing- ing in the church, and while he has roots in gospel and soul. In San Diego, he began fronting a funk/R&B band, the Urban Gypsys, but while dabbling in the blues he realized his heart and soul were in this idiom. He started fronting Aunt Kizzy’z Boyz, with whom he made some recordings and competed in the Interna- tional Blues Challenge. Moving a couple years ago to Los Angeles, Sugar Ray hosted up a jam in Sherman Oaks and then hooked up with guitarist Chuck Kavoo- ras whose CK All Stars became the house band for the jam. The house band is a rotating group of musicians who have played with numerous legends, and famous folk like Al Kooper, Slash, Steve Lukather (Toto) and Mike Finnigan have sit in. Sugaray recently issued “Blind Alley” (self-produced) recorded at Kavooras’ Slideaway Studio with a variety of musicians joining them as well as contributing material.
Sugaray is a big man and has an equally powerful voice. The church roots are clearly evident when he sings on a nice varied mix of material. He comes roar- ing on “Nuthin’ I Wouldn’t Do (For A Woman Like You),” one of two songs Al Kooper contributed with wailing harp, some blues-rocking guitar and a somewhat busy accompaniment that doesn’t smother his personality. With Kavooras’ stark slide and use of tremolo guitar, Sugar renders a field holler moan on the Blind Willie Johnson recording “Dark Was The Night, Cold Was The Ground,” a performance dedicated to his mother. Sugaray’s strong singing does justice to Son House’s “Death Letter,” which opens with simple hand clapping and tambourine behind Kavooras stark delta groove before the band kicks in and the guitarist rocks out a bit on his solo.
The title track, which Sugaray co-wrote, takes us from updated country blues to an uptown soul-blues with a funky groove, riffing horns, and a vocal that evokes the late Little Milton and Artie ‘Blues Boy’ White. Phil Parlapiano’s piano break adds to this track’s strong appeal. Some nice Albert King styled guitar opens the slow drag groove reworking of B.B. King’s “You Upset Me baby,” that again showcases his ability as a singer as he provides a convincing low-key reading of the lyrics.
Al Kooper’s soulful ballad, “I Let Love Slip Thru My Fingers,” provides an opportunity for him to show another side of his style with some nice saxophone from Jimmy Z. His rendition of a terrific Arthur Adams song, “You Can’t Win For Losing,” is another strong soul-blues performance that evokes classic Little Milton. A short gospel performance with just organ and vocal chorus, “I Got to Move,” is followed by the strong “I Sing The Blues,” about him being raised in the country and his whole life has been a struggle,” set against a moody horn arrangement as he really reaches deep in the gut for his vocal here. “Overnight Sensation” has a jazzy flavor with some nice clarinet from Geoff Nudell while Kavooras is taking a more low-key approach here.
Sugaray Rayford impresses this listener more each time I play “Blind Alley.” Not many singers can take us from the delta to the modern chitlin’ circuit as easily as he does. A big man with a big voice and plenty of personality that makes “Blind Alley” a recording to savor. His website is http://sugarayblues.com/ and this can be purchased at Amazon cdbaby.com. He impressed me enough that I am likely to check out the two discs by Aunt Kizzy’z Boyz that he was vocalist on.
One of the highlights of being a CD reviewer occurs when you start to listen to a recording by a musician that you have never heard of – and they proceed to blow you away with their talent and performances.
And that is exactly what happened with this exciting debut from Caron “Sugaray” Rayford, a mesmerizing singer born in Texas and now living in the Los Angeles area. Sugaray garnered attention as the front man for Aunt Kizzy’s Boyz. The group received second-place honors at the 2006 International Blues Challenge.
His solo recording features twenty-two of the best musicians in the LA area, many of whom Sugaray got to know through hosting a Monday night jam at a Sherman Oaks club with guitarist Chuck Kavooras as the musical director. And right from the start, Sugaray serves notice that his talent can’t be denied. Listen to him dig into the opening track, Al Kooper’s “Nuthin’ I Wouldn’t Do (For a Woman Like You)”, his brawny voice shouting out his feelings for the woman of his dreams. Even better is his gritty vocal on the Son House classic, “Death Letter” with Kavooras supplying Ry Cooder-esque riffs on the slide guitar.
Sugaray channels the Little Milton sound on “You Can’t Win for Losing” with a full horn section punctuating the message of keeping your chin up in spite of life’s trials and tribulations. Sugaray wrote the title track with bass man Ralph Carter, It’s another highlight with the leader’s expressive singing dominating the tale of a man caught in the charms of a late-night voo-doo woman. Just as good is his other original, “I Sing The Blues”, as Sugaray recounts his life story over a smoldering arrangement with Kavooras adding another taut guitar solo. The light swing rhythm on “Overnight Sensation” contrasts with the urgency of Sugaray’s vocal, which is softened by Geoff Nudell’s work on the clarinet.
Two cuts are quite brief, with the gospel hymn “I’ve Got to Move” lasting only 46 seconds – and leaves you wishing you could hear the complete performance. Sugaray dedicates “Dark Was the Night, Cold Was the Ground” to the memory of his late mother. He adds moans and hollers over the eerie slide guitar work from Kavooris. On the ballad “I let Love Slip Thru My Fingers”, the leader’s performance is lacking the extra spark fond on the rest of the disc.
There is no denying that Sugaray has a huge voice and the skill to bend it to his will. With stellar musical accompaniment and a stylistically varied set list, he delivers a performance worthy of award consideration. More importantly, this project is good enough that each of reading this should waste no time in heading to Sugaray’s website to check this one out – it’s that good !!!
"Blind Alley"
By Peter "Blewzzman" Lauro © August 2010Not having any particular band mates as a nucleus, I guess you could say that Sugaray's debut disc would qualify as a "solo" release. However, having twenty three other musicians by his side on "Blind Alley", makes calling this disc a "solo" effort a sure oxymoron.Listening to a CD with such an abundance and variety of talent is usually an entertaining experience, but it sure creates havoc when it's time to mention them all. However, since I'm a firm believer in giving credit where credit is due, and since Sugaray did his part in lowering unemployment in the state of California, I'm going to give each and every one of them their recognition.Joining vocalist Caron “Sugaray” Rayford on "Blind Alley" are: Teddy "Zig Zag" Andreadis, Phil Parlapiano, John "JT" Thomas and Jeff Paris on keyboards; Alvino Bennett, Gary Mallaber, Lavell Jones, Bryan Head and Patrick Caccia on drums; Jimmy Z on harmonica & sax; Allan Walker on sax; Gary Bivona on trumpet; Geoff Nudell on clarinet; Lou Castro, Hank Van Sickle, Ralph Carter and Tim Bogert on bass; Vince Tivadad on upright bass; Chuck Kavooras and Jim King on guitar; and Alicia Morgan, Francesca Capasso and Lisa Foreman on back up vocals.In spite of the large supporting cast of fine musicians, "Blind Alley" is driven by intense vocals. Sugaray's Gospel influence can be heard throughout the disc and his deep, compelling and outstandingly soulful voice highlight every track. All those characteristics are even apparent on a short minute and a half track that doesn't even have any lyrics. It's a song called "Dark Was The Night, Cold Was The Ground" and it's dedicated to Sugaray's late mother. On this track, backed up by some incredible slide guitar from Chuck, you'll feel Sugaray's pain as he simply expresses it through howls and moans. Truly moving.You'd expect some great guitar work on a B. B. cover and you'll certainly hear it from Chuck on this funked up version of "You Upset Me Baby". Of course, where there's funk, there's hot rhythm, and Lou, Bryan and Jeff are serving it up on bass drums and keyboards.It's only 40 seconds long but I promise you that in that short amount of a time you'll hear some very stirring vocals from Sugaray and Lisa on "I've Got to Move".Feeling a need to let us know, on this track Sugaray explains "Why I Sing the Blues". As he states here, and as his bio will attest to as well, this blues man has paid his dues. Being one of the more traditional style of blues songs on the disc, it features straight up story telling lyrics from Sugaray, scorching guitar licks from Chuck and great horn and piano highlights from Allan, Gary and Phil.Although it's been done by many, Sugaray's rendition of "Overnight Sensation" is one of the best I've heard. It's a snappy, jazzed up version highlighted with beautifully played piano and clarinet from Teddy and Geoff, tight rhythm from Vince and Patrick on the upright bass and drums, and well sung, really raspy, yet very articulate vocals. Excellent track.Other tracks on "Blind Alley" include: "Nuthin' I Wouldn't Do (For A Woman Like You)", "Death Letter", "Blind Alley, "I Let Love Slip Through My Fingers" and "You Can't Win For Losing".To learn more about the man with this amazing voice - Caron “Sugaray” Rayford - simply go to www.sugarayblues.com. From there you'll be able to pick up a copy of "Blind Alley" and, of course, tell Sugaray the Blewzzman sent ya.
Is this a debut album?This is not the bush it is darn together with the door, the facade, side wall and put even in the garage, rush. Slight pun but merely to illustrate that these "Blind Alley" by Sugaray is an opener with a vengeance. Sugaray is literally a big man his love for music at an early age discovered in the church where he later played the drums and sang. From these roots is the fascination of the man has come for gospel and soul elements that you can still be discerned in this release. The man was also a singer of R & B group Urban Gypsys and more recently of the blues band Aunt Kizzy'z Boyz. It is mainly thanks to the last cited that his reputation and success as a singer grew steadily. The next logical step was therefore working on a solo career, something he was hard the past two years, resulting in this remarkable debut.
The whole is steeped in the blues and soulful energy based on a sophisticated variety of songs including two co-written by the singer himself. The other covers by Blind Willie Johnson, Son House, BB King and let the man's vocal talents to full advantage. And he can sing damn well.
Opener is a solid version of Al Kooper's "I Would not Do Nuthing (For A Woman Like You)", it took us roughly around 7 "at our feet were already at meestampen. Then, a 90 ° bend with a naked version of "Dark Was The Night Cold Was The Ground". This Blind Willie Johnson song by Sugaray dedicated to his deceased mother to cancer is only here so emotievol charged with Chuck Kavooras on slide. You can only regret that it takes less than two minutes this raw beauty. It is followed by an absolutely brilliant version of "Death Letter" by failing men as Bryan Head (Foreigner) on drums and Tim Bogert on bass and aid gets Kavooras also been a dazzling high level on the slide, what a guitarist man!
Something completely different again on the title song. You have quite quickly that it was co-written by Sugaray. Almost 7 minutes long, this is pure soul with a vengeance with stripes sax and trumpet. It shows the versatility of the artist, something he also shows at BB King's classic "You Upset Me Baby" which he has here in personal but a very successful version embodies.
Kudos also to the production work on (again) Chuck Kavooras, he feels perfectly at the realities of Sugaray, let the man's voice at the forefront of course, pure and sophisticated vocal talents in all facets reveal without exaggeration. As in "I've Got To Move" for instance, just under 40 seconds long so you imagine yourself in front of the church pastor Sugaray Lisa D. Foreman at his side, a gem and I'm talking about vocal performance.
A whopper of a debut album and one that we so longingly looking forward to doing future releases of this Sugaray. More good news: you can admire the man can live this year, not to be missed!
SUGARAY
BLIND ALLEY**** (Excellent)
En la personne de Caron Rayford alias Sugaray, originaire du Texas et aujourd'hui installe en Californie, on tient d'abord une vraie voix. Un timbre comme on aime se delecter, issu du gospel, puissant mais souple et susceptible de stimuler notre ernol, en outre capable de s'adapter aux tempos et aux registres les plus varies. IIse fait ainsi incantatoire sur une courte lecture d'un classique de Blind Willie Johnson (Dark was the night, cold was the ground), expressif Ie temps d'un You upset me baby personnel et lancinant, apaise sur des ballades semblant pourtant a priori moins convenir a son style (I let love Slip thru my fingers et I sing the blues) ... La liste plethorique des accompagnateurs compte plus de vingt noms (en revanche, dommage de ne pas nous donner plus de renseignements biographiques sur Sugaray lui-rnerne), mais I'amalgame se fait tres bien avec une
production de qualite et bien equillbree. C'est d'ailleurs ici une force qui permet de visiter
intelligemment unrepertoire eclectique en restant dans I'esprit. Relevons Nuthin' I wouldn't
do, moderne et enerqlque avec sa rythmique emballante, une version originale du Death
letter de Son House et son etonnant contraste entre jlercussions et guitare dezinquee, You
can't win for losing, parfaitement arrange et rehausse de chreurs, enfin un Dvemight
sensation souliqne de traits de clarinette, de guitare et de piano tout en justesse et en
toucher. Pas de faiblesse notable pour ce CD rassurant, car il prouve que I'on peut tres bien
en 2010 faire preuve de modernisme et merne d'une certaine audace dans Ie blues, sans
pour cela s'eqarer ni desservir la tradition.
DANIEL LEON
Blind Alley
(Autoproduction – 2010)
Durée 40’31 – 10 TitresComme pas mal de bluesmen de sa génération, Sugaray Rayford a commencé la musique comme chanteur de gospel dans les églises texanes alors qu’il n’était âgé que de sept ans et c’est ce fort bagage culturel qui fera qu’il se tournera ensuite vers la musique du diable après avoir longtemps servi la cause de celle de dieu, les deux étant paradoxalement très proches l’une de l’autre et venant quoi qu’on en pense des mêmes racines afro-américaines. Emigré vers la Californie et plus particulièrement Los Angeles, le chanteur se produira ensuite aux côtés d’artistes majeurs comme Joe Louis Walker ou encore Slash et c’est sa voix si caractéristique qui rappelle à la fois Otis Redding et Muddy Waters mais aussi son jeu de jambe à la James Brown qui le conduiront à devenir le frontman des Aunt Kizzy’s Boys avec qui il publiera deux albums avant de se consacrer à un ouvrage plus personnel pour lequel il a invité ses amis parmi lesquels on remarque les sidemen les plus capés du blues et du rock …
Mélange de compositions, de reprises de vieux standards et d’œuvres de ses amis, cet ouvrage de Sugaray nous transporte vers ses influences les plus notoires et si l’on en passe très naturellement par Blind Willie Johnson avec « Dark Was The Night, Cold Was The Ground » et par Son House avec « Death Letter » l’artiste n’en oublie pas pour autant de nous emmener du côté d’un « You Can’t Win For Losing » emprunté à Arthur Adams ou d’un « You Upset Me Baby » pioché du côté d’un vieux bluesman du Mississippi, Riley B. King. Quelques beaux featuring dans le genre de ceux de Lavell Jones aux drums et Jim King à la guitare lead sur « You Can’t Win For Losing » ou encore de Tim Bogert (Vanilla Fudge) à la basse et de Bryan Head (Foreigner) à la batterie sur « Death Letter » et voilà l’auditeur plongé en pleine convivialité au beau milieu d’un ouvrage où la guitare de Chuck Kavooras est omniprésente à une seule toute petite exception près puisque c’est avec pour seul accompagnement l’orgue de Teddy ‘Zig Zag’ Andreadis et les chœurs de Lisa Foreman que Sugaray nous rappelle d’où il vient en nous servant sur à peine une minute de temps un vibrant « I’ve Got To Move ». Quelques cuivres pour agrémenter de temps en temps le tout et encore et toujours cette voix qui vous prend aux tripes et nous voilà avec un ouvrage au moins aussi imposant que celui qui a inscrit son patronyme dessus. Une visite à « Blind Alley » s’impose !
Sugaray is a lead singers' singer.
"You can call him Suga', you can call him Ray, but you gotta call him great. Sugaray is one big steaming-hunk of bluesy vocal power and soul. Can anyone explain to me how he moves like that?" said Rand De Matteio past President BLUSD, Director of Blues In The Schools, (BITS). www.BLUSD.org
His blues-gospel soaked, aged, cured, golden voice booms out with joyous energy!
You are taken into his fold, no choice, you have to move, dance, smile, and love life!
Aunt Kizzy'z Boyz is the band. I saw them take second place at the IBC, International Blues Challenge. ( I believed Aunt Kizzy'z Boyz had better energy and played the best and should have been first, I'm allowed to say how I felt, others agree with me), but second in the world is awesome, and so were they.
The band members are "Mo", Bastos Moenho he's a self taught percussionist and singer. Mo is a real crowd pleaser, and he dances with Sugaray, more like competes with Sugaray much to our delight!
Jim King plays lead guitar and vocals. He has a soulful sound and his guitar has been tearin' up Southern California for over 25 years.
Michael Mack plays keyboards, and Hammond B3, (organ). He's also an accomplished song writer for theatre and TV.
Joe Schiavone plays bass deliciously, is a lead singer, and does back up vocals.
Dwane Hathorn is their fabulous drummer. He keeps the band on their feet, and us too.
Every player in this band is stellar, and they work so well together. I'm not sure who has more fun, the audience or the band. (They really blow away the younger bands who have no idea how they can be so amazing!)
You will totally love them. So will the NFL Players Association. Aunt Kizzy'z Boyz will be playing for them in Maui this month, and for Windrose Cruises 12th Anniversary Blues Cruise. March 19th, Long Beach. I'll be there! www.windrosecruises.com/bluescruise
Sugaray said, "When I joined Aunt Kizzy'z Boyz we really clicked and within six months we recorded our first CD, 'Trunk Full Of Bluez."
"When I'm on stage I'm totally different, I'm free, and it's out of this world, I don't think my wife could stand me if I was the same off the stage."
I asked Sugaray about Louis Armstrong and he said,"He was not only a great singer but a great entertainer. He brought back the 'People Factor'. Musicians were taking their music so seriously the audience was overlooked. He brought the 'entertainment' back to the audience, that's what I learned from him!"
I asked him what his favorite club was? "I've played all over the world but Club Ebony in Indianola Mississippi is my favorite. It's the history, when I am on stage I can feel the history. Albert King, BB King, you name them, they played here. I can feel their spirits talking to me. It's the oldest standing Juke Joint."
I asked what his favorite festival was? "Ozarks Blues Festival, they treat us so well, and they accept my vision of blues."
What would you sing at the pearly gates? Sugaray said,"Goin' Up A Yonder". "My mom, who could sing me 'under the table', would destroy that song- no one else would dare sing it after she did!"
Next Sugaray is going to record a CD with some of the 'best talent on the planet."
But Aunt Kizzy'z Boyz are already proven to be 2ND best on the planet, they're not just fabulous to hear, but they are great "Eye Candy"!
You can find Aunt Kizzy'z Boyz at www.auntkizzyzboyz.com/
Apr 21st, 2009 | By bconrad | Category: Lake Tahoe, News, Parks
Submitted News Release
Urban Village Monday Night Music Series, July 13 – Aug. 17 2009
INCLINE VILLAGE, Nev. — The Lake Tahoe Shakespeare Festival completes its summer score with the premiere of the Urban Village Monday Night Music Series, July 13 through Aug. 17. The diverse line-up of musical performances, found typically in larger metropolitan locations such as New York and Los Angeles, graces the shores of Lake Tahoe with musicians from around the globe bringing their talent to the Sand Harbor stage. The weekly series covers a wide range of styles from Afro-Cuban to Broadway and provides audiences with soul-stirring rhythms and energetic beats complementing the starry, Lake Tahoe skies.
The six-week Urban Village Monday Night Music Series takes place at the Festival’s Sand Harbor location with performances by:
ß July 13 – Reno Philharmonic, Broadway on the Beach with Broadway star Hugh Panero: The Reno Philharmonic takes audiences through the Best of Broadway accompanied by special guest Panero, led by Nevada Opera conductor Michael Borowitz. Recognized for his tremendous vocal talent and charisma, Panero has appeared in numerous Broadway productions including “Phantom of the Opera.”
ß July 20 – Ricardo Lemvo, Afro-Cuban World Music: Congo-born Lemvo blends traditional Afro-Cuban rhythms with pan-African styles resulting in an innovative sound that has been described by the Los Angeles Times as “seamless and infectious.”
ß July 27 – Babbo, Jazz Ensemble: Babbo, a newly formed Los Angeles Jazz ensemble that has worked with John Mayer, Celia Cruz, Keb Mo’ and Macy Gray, produces an eclectic mix of rich and vibrant sounds.
• Aug. 3 – Sugaray, Blues: Texas-born blues artist Sugaray brings to the stage his wondrously huge voice, charm and character developed as a child singing gospel. A natural storyteller, Sugaray has performed with notable artists such as James Gadson, Joe Luis Walker, Kal David and Slash of “Guns N Roses” fame.
ß Aug. 10 – Omar Alexander, Latin Funk: Returning artist Alexander first worked with the Lake Tahoe Shakespeare Festival in 2008 composing and performing the original score for the musical CAMBIO. A new generation U.S. Latin music singer, songwriter, composer and musician, Alexander marries smart, alt-Latin sensibility with no-nonsense booty-shaking funk.
ß Aug. 17 – Karen Briggs, Soulchestra: World-renowned violinist Karen Briggs worked with musician Yanni for 15 years, starring in the 1994 performance “Yanni-Live at the Acropolis.” Briggs presents an assortment of musical styles during her ‘Soulchestra’ performance that blends classical, contemporary, world, soul and R&B sounds.
“We anticipate that the combination of live music set against the magnificent Lake Tahoe backdrop will be a sure crowd-pleaser,” Catherine Atack, executive director of the Lake Tahoe Shakespeare Festival, said. “The Urban Village Monday Night Music Series beautifully complements our Shakespeare performances throughout the week and provides another reason for guests to come to our venue…maybe for the first time. The Urban Village series is a continued effort by the Festival to deliver our audiences alternative world-class entertainment options.”
Tickets for the Urban Village Monday Night Music Series tickets are priced $22-$65 and are available online at www.UrbanVillageMusic.com or by calling 800-74-SHOWS (800-747-4697). All Festival performances begin at 7:30 p.m., with gates open at 5:30 p.m. Special music series ticketing packages are available for all seating levels including the Moonlight Madness package designed for premium and reserved seating tiers and the Sunsets & Starry Night package for lower and upper gallery audiences. Packages provide reduced fees and a free ticket for one of the Shakespeare plays with purchase.
The Lake Tahoe Shakespeare Festival provides audiences a unique combination of a majestic outdoor location along the shore of Lake Tahoe, gourmet food and drink services by Shakespeare’s Kitchen and performances seven nights a week.