the Tribute to Stevie Wonder Program Notes

The Fillmore
Presents
A BandHouse Gigs
Tribute
To
STEVIE
WONDER
Saturday July 28, 2012
7:30 PM
1
2
A Tribute to
Stevie Wonder
By Richard Harrington
All the awards, acclaim,
accolades and honors af-­
forded Stevie Wonder are
wonderful and deserved
but they pale next to the
Wonder of Stevie repre-­
sented individually by a
song, melody, lyric, even
a phrase from his volumi-­
nous catalog. Everyone’s
got a favorite—actually,
probably many— and
that’s not even counting
the overall ambient joy
and counsel of so many of his songs.
There’s positivity, optimism, hope and faith coursing through
Wonder’s 50-­year career, from “You Are the Sunshine of My
Life” and “Don’t You Worry ‘Bout a Thing” to “Isn’t She Love-­
ly,” the last written for his baby daughter Aisha and ever
since any parent’s universal exaltation. But there’s also the
racial and social realities of “Pastime Paradise” and “Living
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Wonder chronicled the full breadth and depth of the African-­
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sal.
Besides the plethora of hits, Wonder’s legacy includes the
astonishing stretch of albums that began with 1972’s “Mu-­
sic of My Mind” and “Talking Book” and reached a pinnacle
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nale” and 1976’s “Songs in the Key of Life.” Those last three
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prompting Paul Simon to publicly thank Wonder for not re-­
leasing an album in 1975, the year he won that honor for
“Still Crazy After All These Years.”
3
Such a stretch of condensed and consistent brilliance has
been accomplished by very few artists—Bob Dylan, The Bea-­
tles and the Rolling Stones come to mind. Wonder’s been
a cornerstone of popular music just as long as they have,
a creator of unimpeachable funk, exquisite ballads, sharp-­
edged socio-­political commentary and redemption songs that
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joy in living and performing. Icon and innovator, he’s a long-­
time natural Wonder.
Born Stevland Morris in May of 1950 in Saginaw, Michigan
(renamed Little Stevie Wonder when he signed to Motown’s
Tamla label before turning 11), the artist was blinded at
birth due to a miscalculation in the level of oxygen in his
incubator. With a love of music sparked by the gift of a toy
harmonica and drum kit, Wonder would soon play along to
the radio on a real harmonica (an uncle’s gift), increasingly
adept at accompanying hits of the day.
By the time Motown signed him in 1961 (just as the label
was exploding into the national consciousness), Wonder’s
self-­taught instrumental prowess extended to piano and or-­
gan and he began to blossom as a live performer on the inau-­
gural Motortown Revues. In 1963, the label decided to cap-­
ture Wonder’s stage magic in the manner of James Brown’s
recently released “Live At The Apollo,” and at Chicago’s Regal
Theater, he’d record the song that established his reputation
— “Fingertips (Pt. 2).” With its frenzied call-­and-­response vo-­
cals and harmonica pyrotechnics, “Fingertips” would be Mo-­
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ideas until 1965, when staff songwriter Sylvia Moy went
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the potential in a lyric snippet that began “Everything is al-­
right, uptight...” “Uptight (Everything’s Alright),” co-­written
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est Hits” were released in 1968 and 1971—you could have
done a tribute like tonight’s back then!
4
In 1971, Wonder declared his independence from Motown on
his 21st birthday (it was his legal right to disavow agreements
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wisely granted Wonder unprecedented creative control, in-­
cluding publishing and production companies.
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Coming From,” was not quite ripe (it never charted). It was
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It wasn’t a huge seller and only “Superwoman (Where Were
You When I Needed You)” approached hit status; in retro-­
spect, the evolution was on the production and increasingly
border-­less song writing side.
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gouleff and Malcolm Cecil via a pioneering all-­synthesizer
album project, Tonto’s Expanding Headband. They enabled
Wonder to explore the new medium of Clavinets, Arps and
Moogs and he ended up playing almost everything on the
album himself, creating sounds that had not been heard be-­
fore, not for the sake of novelty but to deepen and enrich the
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to make extensive use of synthesizers on his records, playing
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Margouleff and Cecil would help Wonder realize his vision
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of-­genius coda “Songs In The Key Of Life,” there was no let-­
down in the riotous jazz homage of “Sir Duke” the adoring
insinuation of “Isn’t She Lovely,” the aching “Pastime Para-­
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ballads “As” and the spiritual plea “Love’s In Need Of Love
Today.” That double album is generally recognized as Won-­
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Many would suggest that Wonder’s subsequent albums nev-­
er matched the quality of his ‘70s work, but you could offer
a pre-­1980 song list and a post-­1980 one and there’d be al-­
most as many memorable moments in the latter. As tonight’s
performers will attest, Wonder’s songs are easy to hum but
often hard to sing. They’re also impossible to deny.
5
Featured Artists
Stevie Wonder Featured Artists – in their own words
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Philadelphia native, sax
man, Al Williams III
was a member of “Ma-­
ceo and The Macks”, the
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Mongo Santamaria Band
and “The Stanley Clarke
School Days Band. He is
a four time WAMMIE Win-­
ner.
*Alfredo Mojica, Jr., per-­
cussionist and vocalist started playing at age of eight. He
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Herron, Patti Austin, Michelle N’Degociello, Santana, and
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Blues, Latin, Caribbean, Brazilian, Funk, Rock and Pop. He
won a WAMMIE for Instrumentalist and Vocalist.
Andy Shriver – (guitar) performs live and in studio as gui-­
tarist, vocalist, composer, and producer, most recently with
recording/touring act SideFX, Baltimore classic rock band
Never Never, composer David Bach and renowned songwrit-­
ers and vocalists Daryl Jr. Cline and Mike Cotter. Andy also
performed at the Rod Stewart tribute.
* Anita King’s soulful and melodic voice has swept across
the Washington D.C. area and brought her to sing across
the United States and Europe, performing at presidential in-­
augurals, the Vatican, and the Super Bowl. She appeared
on PBS along with Bobby McFerrin, Herbie Hancock, BeBe
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age to Quincy Jones. Anita has shared the stage with a host
of legendary artists from many genres, including James In-­
gram, the late Isaac Hayes, Lyle Lovett, Vesta Williams, CeCe
Winans, and Regina Bell.
6
Singer/songwriter Mary Ann
Redmond is described in Bill-­
board as “Redmond is wowing
club audiences as a complete-­
ly formed stylist, who sings
heartfelt ballads and funky
tunes with equal ease and en-­
thusiasm in an alto voice that
soars effortlessly to soprano
range.”
* Attila Molnar is an interna-­
tional smooth jazz recording
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He was one of the featured
Mary Ann Redmond
artists at the 2010 Dubai jazz
festival and has played with U-­
Nam, Tim Bowman, Marion Meadows, Randy Scott, Slim-­
man, and is part of Peter White’s current touring band.
Bill Starks LVD%DQG+RXVH*LJVVWDOZDUWDQG:$0$DZDUG
winner who regularly performs with the Cathy Ponton King
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Twinbrook.
Keyboardist/vocalist Brian Simms is bandleader of Junk-­
yard Saints and performs and records with such DC no-­
tables as Patty Reese, Billy Coulter, and Chopteeth. Brian
teaches at Towson University and was nominated for a 2009
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Byron McWilliams (drums) plays regularly with the Dixie
Power Trio. He has also performed with Jr. Cline and the Re-­
cliners and is currently known as Mighty Mouse because he
came in and saved the day.
Cesar Vanegas -­ Born in El Salvador, son of famous Salva-­
dorian singer Cesar Donald, played with the Tommy Lepson
Band for 10 years. He now has his own Latin Jazz band Poco
Loco and plays with salsa band Azucar Tumbao!
*Chris Dennard, singer, has been performng since the age
of 11, which has grown into a 9-­year professional career.
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7
Chopteeth Afrofunk Big Band
hopes to deliver an astonishing performance worthy of one of
his greatest idols.
The core of the Chopteeth Afrofunk Big Band sound is Af-­
robeat: a big-­band funk invented by Fela Kuti in 1970’s Ni-­
geria. Afrobeat is a spicy stew of modern jazz, Yoruba tribal
music and burning, James Brown-­inspired rhythms, and
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Simms / keyboards and vocals, Robert Fox / bass, Jason
Walker / drums, David McDavitt / percussion, Mahiri Keita-­
Edwards / percussion, Justine Miller /trumpet and vocals,
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Pianist and organist John Hurd moves easily among all musi-­
cal genres. In addition to stints with Jr. Cline and The Reclin-­
ers, The Newports, Soul Crackers, and Tom Cunningham’s
Big Band, he is music director at St. Columba’s Church.
Chuck Underwood has performed with many ensembles
from the National Symphony to Patti Labelle. He is currently
part of the Landon adjunct music faculty where he has been
teaching jazz guitar and music theory for the past 14 years.
Danny Schwartz (drums) has served in several capacities
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Ryan Buckle. As an audio engineer, Danny has been award-­
8
ed Best Live Sound Engineer for the last 4 years by WAMA.
Danny is currently the production manager at The Hamilton.
Singer songwriter Deeme Katson is ecstatic to perform in her
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and social justice. A favorite musical movie moment: the end
of High Fidelity, when John Cusack’s character starts the
mixtape he’s made after reuniting with his ex, and “I Believe
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*From Detroit, Deren Blessman began playing drums at
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father, James, who was a jazz saxophonist. With a strong
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forms with Mary Ann Redmond and Eric Scott, as well as a
host of other local greats.
Doug Elliott is a lifelong resident of Silver Spring and has
performed around the world as solo jazz trombonist with the
US Air Force Airmen of Note. He currently plays lead trom-­
bone with the Artie Shaw Orchestra and co-­leads the Swing-­
topia Jazz Octet.
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rock, and gospel, Eric Scott has arrived at a sound that
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leased his 4th solo album, “Where The Water Runs Deepest”.
Greg Hardin – (bass) anchored Jr. Cline and the Recliners for
20 years. Currently he performs with Ruthie and the Wran-­
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Mr. Knuckles” and his song “Babe Ruth’s Piano” was named
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team running.
*Jay Cooley -­arranger, composer, clinician and jazz pianist
in the Washington area since 1975. He is currently the pia-­
nist for the WAMMIE award winning Bruce Swain Quartet.
* Harmonica player Jay Summerour has been involved with
music for well over 40 years. Beginning his musical educa-­
tion on the trumpet at age seven, he learned the harmonica
from his grandfather Smack Martin and later Sonny Terry,
James Cotton and Magic Dick. Summerour has performed
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9
Drummer and spontaneous percussion-­
ist Jim Clatterbuck plays with 40-­Dol-­
lar Fine, The McDuffees, and is the
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Julia Nixon (vocals) made a suc-­
cessful comeback after a 12 city
tour in Russia, a performance in
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a sold out one woman show,
“The Impossible Dream” at the
Signature Theatre. She won
a WAMMIE for best Urban
Contemporary vocalist.
Justine Miller (trumpet and
vocals) has been freelancing
in the DC metropolitan area
for... ever. She is currently
Julia Nixon
trumpeting, vocalizing and re-­
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Bay Jazz Project, Sweetwater and her own project Justine
Miller and Friends.
LEA is overjoyed every time
the good folks of BandHouse
think of her. Singing Stevie’s
inspired music is just anoth-­
er excuse to hang out with
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LEA
*Kenny Wesley a classically
trained pianist and vocalist
whose voice spans 4 octaves,
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age nine. He has shared the
stage with many legendary
artists, and his music has
been on television programs
including FOX’s “So You
Think You Can Dance” and
ABC’s “The View”.
10
Michael Shereikis a founding member of Chopteeth Afro-­
funk Big Band, produces some of the premier African artists
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guitar by ear while living in Africa, making him a rhythmic,
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won’t know what to call it.
*Paul Langosch has been playing Double Bass profession-­
ally for 40 years. He has had the opportunity to perform with
many of the Jazz greats including: Herb Ellis, Johnny Hart-­
man, Tal Farlow, Phil Woods, Al Cohn, Ralph Sharon, Joe
LaBarbera and Harold Jones.
Paul Pisciotta has played bass with Big Yankee Dollar and
Jr. Cline, and is currently with 40 Dollar Fine and The Billy
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Peter NissenFKDUWVYRFDOVKDVFUHDWHGPXVLFIRU&RPH-­
dy Central, E! and an Off-­off Broadway production of Shake-­
speare’s Twelfth Night set to Dixieland. He is a member of the
Tone Rangers, one of DC’s premier a cappella groups, and is
an Emmy-­winning television producer who currently works
for DHS and The Today Show.
*Rochelle Rice is up and coming jazz and contemporary
vocalist. She holds a masters degree in jazz studies from
Howard University and is a member of premiere jazz vocal
ensemble, Afro Blue.
* Skip Mahoney and the Casuals have been performing for
over 30 years formed in Washington DC. The members are
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All through high school Skip’s other Nick name was Wonder.
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and Bless My Soul.
*The Sidleys, the powerful singing/songwriting/multi-­in-­
strumentalist duo of Annie and Steve Sidley, have often been
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FRUGHGDQGWRXUHGQDWLRQDOO\DQGZLOOEHUHOHDVLQJWKHLUÀUVW
album under the name The Sidleys in 2013, and they consid-­
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on their songwriting and performance careers.
11
Soul Crackers
Soul Crackers -­ this Motown Soul band formed in 1982
headed by lead singer Tommy Lepson, also includes Ron-­
nie Newmyer/bass; Spencer Hoopes/keyboards; Dave Egel-­
hofer/guitar; Wayne Sulk/sax; Chris Hutton/trumpet; and
Chuck Sullivan/drums. They recently released <HDUV RI
6RXOavailable on CD and iTunes.
Tommy Lepson -­ Hammond player and vocalist is a WAMA
Hall of Fame member and has toured the world for over 40
years. In 2011 he performed at the Montreux Festival and
recently won the WAMMIE for Blues Vocalist.
Victor Crisen brings years of experience on the stage and in
studio. He is a member of Chopteeth Afrofunk Big Band and
can be heard getting funky, or in another style, with various
area bands as a hired guitar slinger.
*Vince Evans has toured and recorded with many nation-­
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'XNH*HRUJH%HQVRQ3ULQFH/HQQ\:KLWHDQG%LOO:LWKHUV
to name a few. He has served as Musical Director for Phyl-­
lis Hyman, Melba Moore, Vesta Williams and Patti Austin
among others.
Will Henderson got interested in playing guitar as a teen-­
ager but decided to play bass in his early twenties. He did a
few tours with the Dynamic Superiors but stopped playing in
1980 and picked it back up in ‘05 when he lost his leg.
12
The Story of BandHouse Gigs -­%DQG+RXVH*LJVIRXQGHG
in 2004 by local Bethesda musicians and producers Ronnie
Newmyer, Chuck Sullivan, David Sless, and Danny Schwartz,
is the DC area’s premier producer of one-­of-­a-­kind tribute
concerts, bringing together scores of acclaimed local and re-­
gional acts to perform works drawn from iconic artists and
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Past concerts have included tributes to Nils Lofgren, Joni
Mitchell, Woodstock, the British Invasion, Paul Simon, and
Rod Stewart among others. These tributes also serve to shine
a light on the area’s diverse and richly talented musicians,
putting them on top notch concert stages in front of attentive
audiences. This collaboration also includes writers, graph-­
ic artists, videographers, photographers, make-­up artists,
lighting designers, marketing professionals, and audio engi-­
neers. Together we are the BandHouse Team and we know
that you make it all possible.
%DQG+RXVH *LJV LV D QRWIRUSURÀW HQWLW\ DQG LV D UHJXODU
FRQWULEXWRUWR+XQJU\)RU0XVLFDQRQSURÀWWKDWSURYLGHV
musical instruments to underprivileged children, as well as
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addiction treatment.
Several past shows are available on CD Baby and ITunes. In
addition we have lots of professional 4-­camera videos posted
on YouTube.
Please check our NEW website
for more information:
bandhousegigs.com
13
Producer’s Notes
We want to thank all of you for following us to The Fillmore to hear
some great renditions from Stevie Wonder’s repertoire. Stevie is
such an American icon, and has written so many great songs for
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single concert.
Since his early days as Little Stevie to today, his music elevates
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Stevie sings like no one, but he also blows a chromatic harmonica
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novated the synthesizer along with every other type of keyboard,
arranges horn sections; in short he does it all and there is no one
like him in the world.
While most of his songs are about romance and various kinds of
love, Stevie Wonder takes his notoriety seriously by promoting so-­
cial change and fairness – all in a musical manner that draws the
listener in before they even realize the song’s intentions.
It has been our pleasure to reacquaint ourselves with his extensive
collection, and hearing how his production evolved over the years,
breaking new ground, while remaining true to his roots. We are
especially pleased with the many new-­comers on this show to help
us pay tribute to one of the greatest songwriters in the history of
American music.
Please visit our new website at bandhousegigs.com to register for
updates on future shows. We truly appreciate your support and
hope you continue to attend future shows – wherever they may be.
14
Eric Scott
Skip Mahoney and the Casuals
Kenny Wesley
Anita King
15
Here is the BandHouse Team!
Master of Ceremonies: Ronnie Newmyer
and David “Dude” Sless
Stage Management:*UHJ+DUGLQ3DXO3LVFLRWWD.HQ)DUUHQ
6SHQFHU+RRSHV-LP&ODWWHUEXFN&KXFN6XOOLYDQ*LQD&RFFR
Drew Holland, and Mike Dove
Audio Engineering: Danny Schwartz
Merchandise: Dan Moskowitz, Keith Jones
Volunteer Coordinator: Desi Farren
Volunteers: -DQHW*DUEH-HQL%OHVVPDQ6XVDQQD6XOOLYDQ
Backstage Hospitality: Lorraine Birks
Poster Design: Dick Bangham and RipBang Pictures
Program Design: *LQD&RFFR
Program Notes: Richard Harrington
Top Chef: Armand’s Pizza
Hair & Make-­up: Barbara Roybal, Barbara Lacey, and Beauty
At Your Door
Video Crew: John Collins, Suzanne Hickey, Terry McArdle,
Miles Roberts, and Happy Medium Productions
Photography: Linda Parker, Kenny Reff
Marketing Support: Mark Walston, Deb Schwartz
Stage Props: $QGUHDDQG7RP+RVWHWOHU6KRZVLWHV
Community Support: Mike Schreibman and the Washington
Area Music Association
16