Saturday’s birthday celebration for Bob Marley proved his legend still lives on, 26 years after his death in 1981. For his would-be 62nd birthday, five acts interpreted his music as their own at Castaways.
Marley is one of music’s most well-known figures. He brought Jamaican culture to the rest of the world with hits like “No Woman, No Cry” and “Three Little Birds.” He passed away years before 12 million copies of the greatest-hits compilation “Legend” were sold. His passing left a burden on mainstream reggae music, which essentially stopped evolving once he died.
Organized by Castaways to benefit a farmer in western Africa, the concert had memorable moments. The show began with Mile 21, a seven-piece ska group from the Boston area. As the only young act of the night, it achieved audience approval through a horn-heavy version of Marley’s “One Cup of Coffee.” Frontman Mike Francis, clad in a striped, collared shirt and baseball cap, asked the audience, “We’re all in this for Bob, right?”
The band’s highlight came at the end of its set, with a transcendent version of “Exodus.” Lead guitarist Mike Goulart used heavy reverb effects during his solo and effectively climaxed before a chant of “Get Up, Stand Up.” The group reverted back to “Exodus,” leaving with a volatile crash-and-burn ending.
The next act, Don Bazley, was not as engaging. He began his acoustic set on a stool, accompanied by Jim Catalano on electric guitar. His lazy takes on “Guiltiness” and “Stop That Train” were probably not what Marley would have enjoyed, with nasally vocals and half-strummed guitar chords.
After a politically relevant “Talkin’ Blues,” Bazley jokingly said, “We don’t need to get political at a Bob Marley show,” and then went on to plug Barack Obama.
Joel Blizzard and Jhakeem Haltom, members of Ithaca’s “Thousands of One,” led the next performance and were joined by a full band.
The group tightly strode through haunting versions of “Slave Driver,” “Concrete Jungle” and “War.” Haltom sung with fury, reaching out to the barroom audience as if pleading for help.
An incessantly long 45-minute wait followed. The Haunt’s open-mic host Richie Stearns eventually appeared on stage with a five-piece bluegrass band, including cellist Hank Roberts. Musical variation outside of reggae was refreshing, but the group played a scant two songs. The set did end well with an uplifting banjo take on “Three Little Birds.”
Stearns was later joined by the “Ithaca Reggae All-Stars,” a collection of nearly 15 artists, for the most high-energy part of the evening. Musicians from nearly every band played, including famed former John Brown’s Body vocalist Kevin Kinsella.
The group played for more than an hour, including a sublime version of Marley’s “Burnin’ and Lootin’.” The atmosphere was casual, with artists jumping on stage and grabbing the microphone as they pleased.
People cheered. Drinks flowed. College students attempted to fuse Marley’s reggae with hip-hop booty dancing. One love, for sure.
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