By Chaos, Freelance Writer
BENJI MYAZ delivered a stunning, but all too rare performance at the Village Café, Liguanea, last Tuesday night, the night when live music is always on the menu. It was time for the 'Open Microphone' once more.
When The Gleaner arrived at the venue, he had just started a wonderful rendition of Bobby Caldwell's What You Won't Do For Love, his baritone-range voice carrying clarion clear through the less packed than usual café.
Myaz was accompanied by Rupert Bent III on guitar, Alex Martin Blanken on keyboards and a very energetic, dreadlocked and skilled Kirk Bennett on the skins. If there was anything as good as Myaz' vocals, it was his skill on the guitar as he went into a number of riffs, running up and down the chords in ways which sent chills down the spine. Whistles and cheers greeted the finale, which was a prelude for another musical piece de resistance.
This particular night had more of a mellow groove than usual and the next selection provided even more of a delicious cushion to sink into. I love you higher than anyone can count Benji Myaz sang and the people rocked to the rhythm. After providing another bit of skill on his guitar, he gave way to Bent III and Bennett, who alternately duelled and duoed with their instruments, at one point reaching a crescendothat threatened to lift one off their feet.
Violinist Mark Stephenson was next, and although hurt by the open air acoustics of the Village Café that do not suit instruments such as violins, he impressed with elegant versions of Dennis Brown's Should I and Bob Marley's War while in his red hat with one side cocked upwards. He had been joined by Craig 'Flea' Lee on maraccas, Paul Chang on guitar - both of Mile High - as well as bassist Courtney Panton.
Somewhere along the line Stephenson disappeared from the stage, Rupert Bent III again had a guitar and Bennett was again on the drums. The ensemble then embarked on a jam session that seemed more freestyle than anything and was a joy to listen to. When they finally did come to a close, it was with a flourishing, frenetic Bennett on the drums, his locks flying every which way as he played. When silence finally did dare peek its head back in, Rupert Bent III said "He did it with one hand tied behind his back- him well tough you (expletive deleted)"
Actually, he had dropped a drumstick but pretty much no one noticed, that is how good he was.
Jason Raphael was up next. He started out well enough, with Paul Chang on guitar and Mark Stephenson on violin doing a rather decent cover of the Red Hot Chilli Pepper's Under The Bridge. The problem with Raphael is that while he does have a good voice, he seems not to be aware of its limitations. This was proven on his next choice, Metallica's Nothing Else Matters. While Chang and Stephenson did a very good job of imitating the original band's ground-breaking collaboration with the San Fransisco Philharmonic Orchestra, Raphael's vocals were, on the night at least, incapable of matching or even giving a decent imitation of James Hetfield's - Metallica's lead singer - distinctive growl yet soaring vocals.
The opening chords of Enter Sandman, also originally by Metallica, were enough to cause fans present some degree of concern, but the trio instead launched into Bon Jovi's Living On A Prayer. Again, Raphael's passion must be admired, but he needs to find his range.
The night also saw performances from VC, Daddigan and Tanto Marijuana of the Ghetto Youths crew as well as a number of deejays looking for a break, such as Rhinceros and Dtour a duo and the persistent Baleno.
