The Boston Globe - 05.08.2019

(Brent) #1

B6 The Boston Globe MONDAY, AUGUST 5, 2019


Names

DININGANDDONATINGTOHELPTHEHOMELESS

More than 700 guests attended the 25th annualFoodFest benefit for Father Bill’s & MainSpringlast
weekat the Hingham Shipyard. The event Tuesday, which featureddishesfromSouthShore restau-
rants, raised more than $350,000 to help fight homelessness in the area — including the construction
of 10 housesin Randolphfor homelessveterans.

IN
VI
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ByJon Garelick
GLOBE STAFF
NEWPORT, R.I. — It’s the nature
of multi-stage musicfestivals that
you’re always missing something.
Spend a full 60-minute set with one
act and you miss most or all of three
others. So consider this a series of
snapshots of 20 performances from
the Newport Jazz Festival on Satur-
day afternoon, the second of three
days of music.
Now celebrating it’s 65th anniver-
sary, the festival is as varied and
deeply representative as it’s ever
been, freed up in part by founding
producer George Wein’s decision, in
2010, to take the event nonprofit,
with a strong educational component
(the corporate sponsor is Natixis In-
vestment Management).
So there was the old guard — pia-
nist Herbie Hancock, 79; bassist Ron
Carter, 82; and singer Sheila Jordan,
90 (a featured guest with vocal trio
the RoyalBopsters). In the vanguard
were Newport debut performances
from twentysomething vibraphonist
Joel Ross and drummer Makaya Mc-
Craven, 35. (Long security lines
didn’t allow me to catch Jordan’s cur-
tain-raising set, and I opted out on
13-year-old pianist Brandon Gold-
berg.)
Stylistic choices wereall over the
map — the McCraven band’s jittery
grooves; vigorous hard bop from
drummer Ralph Peterson’s band
(with an elegant, stirring Bill Pierce
on tenor sax); keyboardist Hailu Mer-
gia’s Ethiopian take on American
jazz, Afropop,and reggae; Ghost
Note’s LOUD hard funk; the Ameri-
cana jazz of violinist Jenny Schein-
man and drummerAllison Miller’s
band Parlour Game.
Star turns came from vocalists:
multilingual Majorcan singer Buika,
with her raw Iberian wail (and a sur-
prising, rolling 6/8 take on the Billie
Holiday standard “Don’t Explain”);
Dianne Reeves (with her jazz-ballad
interpretation of Fleetwood Mac’s
“Dreams”); and Dee Dee Bridgewater,
who offered a succinct civil rights les-
son, with a call-back to the Little
Rock Nine and the Staple Singers’


“Why? (Am I Treated So Bad).”
Someother memorable moments
included Parlour Game’s poised take
on Miller’s “Top Shelf” (“about the ri-
diculousness of getting drunk on ex-
pensive liquor”) and the sweet oneir-
ic lope of Scheinman’s “Sleep Rider.”
Vibist Ross (who did double-duty

with McCraven) and his band fol-
lowed an appealing slipped-cog
groove with a slow boil-ballad. Han-
cock, in a trio with bassist (and New-
port artistic director) Christian
McBride and drummer Vinnie Colai-
uta, offered an expansive take on his
compatriot Wayne Shorter’s “Foot-
prints.” In an intimate duo with saxo-
phonist Ravi Coltrane, pianist David
Virelles released knotty, detailed runs
into cloud-like soft chords.
I’m not a fan of headliner Kamasi
Washington’s blandpredictability.
But the saxophonist/bandleader has
become something of a sensation
since the release of his triple CD “The
Epic,” in 2015. It was hard to fault the
earnest uplift of his melodies and
stage comments on a day when news
of the carnage in El Paso was popping
up on people’s cellphones.
For me, the high point of the after-
noonwas perhaps its quietest: Carter,
in a trio with guitarist Russell Malone
and pianist Donald Vega, paying trib-
ute to the bassist’s late duo partner
Jim Hall, with Carter’s “Candle Light”
and the Dimitri Tiomkin-Ned Wash-
ington standard “Wild Is the Wind.”
In his counterlines to Malone, Carter
was a dance partner, both supporting
and free. In the August heat, Carter
worea white seersucker jacket and
tie with a jaunty pocket square. It
doesn’t get cooler than that.

Jon Garelickcanbe reached at
[email protected]
on Twitter@jgerelick.

MUSICREVIEW

NEWPORT JAZZFESTIVAL
AtFort AdamsStatePark,
Newport,R.I.,Saturday

Deep lineup


delivers at


Newport


Jazz Festival


PHOTOS BY NIC ANTAYA FOR THE BOSTON GLOBE
Vocalist DianneReeves performedonSaturday at theNewport Jazz
Festival,whereKamasiWashington(below)wastheheadliner.

ByMaura Johnston
GLOBECORRESPONDENT
MANSFIELD — It’s been 25 years
since “Cracked RearView,” the debut
by South Carolinians Hootie & the
Blowfish, sold boatloads of copies and
turned the band’s name into a go-to
signifier for the 1990s. That album,
which has sold 21 million copies since
its July 1994 release, shines especially
brightly today not only because of its
eye-popping sales numbers; singles
like the rousing “Hold My Hand,” the
grunge-tinged “Time,” and the wide-
eyed “Only Wanna Be With You” can-
nily blend Americana’s melodicism
and fiddling and alt-rock’s jittery yet
potent riffing with sometimes-silly hu-
mor and, most crucially, frontman
Darius Rucker’s warm, raspy baritone,
which has become a country-radio sta-
ple in recent years.

The band’s current tour, its first in
over a decade, is a celebration of
“Cracked” turning 25 and at times,
Saturday night’s show at the Xfinity
Center with its feel-good vibes and
friendly camaraderie, felt like a time-
warp back to the ’90s, or at least the
moment when powerpop-leaning alt-
rock crossover hits and diamond-set-
tling albums werethe norm. Adding
to that feeling: a cover of R.E.M.’s jan-
gly 1991 hit “Losing My Religion,”
which Rucker introduced by shouting
out touring member Peter Holsapple,
who’d played on the track’s studio ver-
sion. Rucker notedthat R.E.M., which
blazed the trail connecting college
rock and Southern rock during the
’80s, was one of his band’s biggest in-
spirations, and the rest of the night’s
covers — which made up about half of

the fast-paced set — similarly illumi-
nated the band’s musical origins.
“I Go Blind,” originally recorded by
Canadian college rockers 54-40 in the
’80s, showcased Hootie’s timing and
knack for pop hooks; “I Hope I Don’t
Fall in Love With You,” a 1973 Tom
Waits cut, showed off Rucker’s emo-
tional range; “Wagon Wheel,” a track
by string band revivalists Old Crow
Medicine Show that Rucker took to
the top of the country charts in 2013,
put the spotlight on their Nashville in-
fluences. Snippets of tracks by hip-hop
pioneers Public Enemy and Digital
Underground called back to the any-
thing-goes vibe of the ’90s alt insur-
gency, while a brief yet stirring rendi-
tion of the hymn “Will the Circle Be
Unbroken?” nodded to the way so
much American music runs through
the church. (Hootie’s birthplace of Co-
lumbia, S.C., was shouted out by back-
drops featuring University of South
Carolina paraphernalia and a rain-
drenched Waffle House, as well as
some good-natured ribbing from
Rucker toward audience members in
Clemson and University of North Car-
olina gear.)
Canadian brainiacs Barenaked La-
dies, who opened the show with an en-
ergetic set that included their hits like
the fast-talking “One Week” and the
dreamy “If I Had a Million Dollars” as
well as quick run-throughs of current
chart-toppers like Lil Nas X’s “Old
Town Road” and Panic! at the Disco’s
“High Hopes,” returned for the main
set closer, a lusty run-through of Joe
Cocker’s “With a Little Help From My
Friends” revamp that featured Rucker
and Ladies leader Ed Robertson at full
force. It was a nod to the Beatles,
whose visions of pop defined so much
of what’s comeafter, that doubled as a
sweet shout-out to the longstanding
relationship between Hootie & the
Blowfish’s core four members — as
well as the crowd who made this tour
one of summer 2019’s hottest tickets.

Maura Johnston can be reachedat
[email protected].

Even in rear view, Hootie

and ‘Cracked’ still shine

MUSICREVIEW

HOOTIE& THEBLOWFISH
WithBarenakedLadies
AttheXfinityCenter,Saturday

MATTHEW J. LEE/GLOBE STAFF
Hootie& theBlowfishguitarist
Mark BryanandsingerDarius
Rucker at the Xfinity Center.

“Jackie” directorPabloLarrain(in-
set) is lined up to direct the miniseries
“Lisey’s Story,” withJulianneMoore
set to star.
StephenKingwrote all eight epi-
sodes himself, adapting
his 2006 horror-ro-
mance novel for the
forthcoming Apple
TV+ streaming ser-
vice. The story,
which Kinghas called
a personal favorite
among his books, follows a widow two
years after her husband’s passing. She
gradually begins to uncover startling
truths about her husband.
Powerhouse producerJ.J. Abrams
— who teamed with Kingon Hulu se-
ries “11.22.63” and “Castle Rock” —
will executive-produce (through his
Bad Robot Productions company), as
will King and Moore.
Moore (right) con-
firmed Larrain’s in-
volvement to the
Globe during an in-
terview for her up-
comingdrama“After
the Wedding.”
“I actually wrote [King] a fan letter
after I read ‘The Stand,’ whileI was a
student in Boston,” said Moore, who
went to Boston University. “He is un-
paralleled at combining the drama of
everyday life with the supernatural, at
the idea that there’s this membrane
between [them].”
Moore added that she’s “thrilled to
be working with [the author] and Pab-
lo Larrain, who’s a magnificent Chil-
ean director,” further confirming that
shooting is expected to kick off this
fall.
Natalie Portmanearned an Oscar
nod for playing formerfirst ladyJac-
quelineKennedyin “Jackie,” Larrain’s
2016 English-language debut. “Lisey’s
Story” is to be the director’s first TV
project. ISAAC FELDBERG

JulianneMoore,

set to star in

StephenKing’s

‘Lisey’s Story,’ says

Larrainwill helm

Fromleft: Jim Paul of RocklandandKarenGrahamof Weymouth.TheresaMonahanandson
Brendanof BrocktonwithKhalilahJonesof Boston.

PHOTOSBYBILLBR

ETTFORTHEBOSTON

GLOBE

Fromleft: EmilyWaterfieldof Scituate,PatrickandAnnaGowlik
of Scituate,Kendra Dietrichof Easton,andKellyWaterfieldof Pembroke.

AftonWilliamson, star of the ABC
crime series ‘‘The Rookie,’’ says she’s
quitting the show because of sexual
harassment and racial discrimination
she experienced during the show’s
first season.
In an Instagram post Sunday, Wil-
liamson said throughout the filming of
the show’s pilot, ‘‘I experienced racial
discrimination/
racially charged
inappropriate
comments from
the hair depart-
ment.’’ She said
the treatment
worsened when
she was sexually
harassed by a re-
curring guest star, bullied by executive
producers, and was sexually assaulted
by a crew member at a wrap party.
Representatives for ABC did not re-
spond to messages Sunday.
A representative for Williamson
didn’t immediately respond to mes-
sages seeking details on the actress’s
claims, or whether the alleged sexual
assault was reported to the police.
Williamson also was highly critical
of how her claims werehandledby
showrunner and executive producer
AlexiHawley.Williamsonsaidshe
filed reports on the incidents but they
weren’t seriously investigated by the
network or shared by Hawley with
otherproducers.
‘‘After my initial report of sexual
harassment, I was assured that the ac-
tor would be fired,’’ said Williamson of
the guest star. ‘‘I was also asked to film
with him the very next day as a courte-
sy to the script, even though we had
not begun filmingthe episode yet.’’
Representatives for Hawley didn’t
immediately respond Sunday.
Williamson co-starred in the Los
Angeles-based ABC drama.Nathan Fil-
lionstars as a rookie police officer.
ASSOCIATED PRESS


Star quits


‘TheRookie,’


alleges sexual,


racial incidents

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