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(L to R) Dianne Reeves, Dee Dee Bridgewater, and Esperanza Spalding
When the Apollo Theater had announced that it would be holding the next Southbank Centre’s Women of the World Festival recently, it almost seem too good an idea to be believed.
In its all too-short a time — from Friday, May 4th, to Sunday, May 7th — it provided everything from the WOW Teen Summit featuring a talk by Oscar-nominated actress Gabourey Sidibe to a day of free panels, workshops, and performances celebrating empowerment and activism. Yet that’s what it did — offering a range of activities that brought together disparate age groups and communities in Harlem to celebrate its community of women.
In doing so, it served a set of needs that haven’t been so fulfilled before, rich in creativity and solid in enthusiasm. But of all the events presented at The Apollo during the Southbank Centre’s WOW Fest, the Abbey Lincoln Tribute held Saturday night was one of the most memorable music performances heard and seen in that august and history-rich performance hall. In a far too-brisk two hours or so, premiere jazz vocalists Dee Dee Bridgewater, Dianne Reeves and Esperanza Spalding covered the catalogue of this innovative singer and songwriter. Under the musical direction of noted drummer Terri Lyne Carrington, the evening provided an incredible forum to hear some the finest female voices on any stage, a recollection of a singer/songwriter/actress who shouldn’t be forgotten and a reminder of how she had merge art and activism to fashion an incredibly full life in her 80 years.
By stepping into the Apollo last Saturday to hear the Abbey Lincoln tribute, the audience was transported into a world of fierce and unrelenting passion and aural art. The seamless bonding of these three performers — Bridgewater, Reeves and Spalding — made for a momentous event.
This trio both celebrated and re-energized the songs of a legendary singer who had transformed classic jazz vocals into something richer both of her time and yet timeless. Lincoln had a way to restructuring the framework of jazz tunes to pivot between classic song structures and an avant gardism at the same time.
While Bridgewater was the big gospel-fied power vocalist, Reeves shaded her renditions of Lincoln’s songs with a mellifluous flow up and down the scales, a testing of range and tonality. Spalding offered the alluring sexuality of a singer reminiscent of Billy Holiday’s own sultriness.
That evening made this remarkable weekend all the more remarkable and historic. It will be far too long to wait another year for the next WOW fest. A hurrah for WOW.
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