4 days ago
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The Jamaica Youth Chorale and the Kingston Seventeen, under the direction of Gregory Simms, brought Christmas cheer in the form of musical excellence at their annual concert, Christmas Joy, at the Philip Sherlock Centre for the Creative Arts at The University of the West Indies, Mona on Sunday. With an array of indelible musical Christmas arrangements, the groups captivated audience members, inducing smiles from ear to ear.
Act One took patrons on a musical journey, with the Hallelujah Chorus from The Messiah by George Frideric Handel delivering a powerful and melodious sound. The piece was well executed, with a generally balanced blend across voice parts, though the bass and soprano lines could have been more present throughout the performance.
The third piece, The Trinity Service: Magnificat, performed by The Kingston Seventeen, more than compensated for any shortcomings in the Hallelujah Chorus. With exceptional balance, impressive vocal placement, and an undeniably exquisite blend, Magnificat made an early statement in the concert, showcasing the group’s musical accuracy, attention to detail, and ability to present technically demanding repertoire at a world-class standard.
Both Dr Odane Dawkins and Cedron Walters, members of both groups, brought their musical arrangements to life on stage in Act One.
Dawkins’ We Are Christmas produced an engaging sound with smooth transitions. The soloist for this piece, Britney Getfield, impressed with her captivating voice and crisp diction. Though the harmonies were sometimes inaudible or muffled, the performance remained engaging.
The Virgin Mary Had A Baby Boy arranged by Cedron Walters stole Act One with its unique West Indian feel and staccato rhythms. With crescendos and contrasting pianissimo and fortissimo moments, this piece was delightfully memorable.
Act One concluded with items arranged by bandleader Dr Kathy Brown. Brown’s A Dexter Christmas highlighted a myriad of pieces from the late musical legend Noel Dexter. Her distinctive spin on Dexter’s compositions was refreshing, though the bass line failed to capture the punchy and vibrant elements that have come to be associated with his works. Similarly, Brown’s Joy showcased her talent as an arranger and was a fitting end to the segment.
Act Two opened with selections performed by The Kingston Seventeen, whose performances brought a heightened sense of polish and stage presence. The group impressed patrons with pieces such as Light of a Clear Blue Morning by Dolly Parton, If I Can Help Somebody, arranged by Nathan Carter, and Hold on to Your Dreams, arranged by Brown.
This segment was dedicated to Jamaica’s resilience in the aftermath of the destruction caused by Hurricane Melissa. Soloist O’dean McKenzie, featured on If I Can Help Somebody, had the audience hooked with a stellar vocal performance that left many wanting more. The Kingston Seventeen’s supportive and well-balanced backing vocals allowed him to shine throughout the piece.
In true Gregory Simms fashion, the show ended on a high note with his arrangement of Silent Night performed by both groups. This piece captured the complete essence of the revival art form and brought pleasing harmonies to the forefront. The costumes however did not elevate the visuals for this item, leaving much to the imagination.
Soloists Sherona Forrester-Thomas and Jevaughn O’Glivie engaged audience members with their impressive renditions.
Overall, Christmas Joy took its audience to a place of stunning harmonies, thought-provoking themes and truly magnificent arrangements. Though the groups both performed well, there could be an improvement in choreography, better balance between the band and choir and a bigger climactic element for some pieces.
As usual, the Jamaica Youth Chorale and newly founded Kingston Seventeen did not disappoint.
English (US) ·