Shakura S'Aida
Photo by Beckie O'Neill
Picture International Canadian blues artist, Shakura S’Aida standing next to the stage, strikingly tall in black-laced heels, wearing a silver pantsuit, black-sleeved cape, long, grey and white feather earrings. Close-cropped, white hair completes her ensemble. Shakura’s band members, also dressed in blacks and greys, embrace in a pow-wow huddle with her for, “seeing each other before going on stage”.
Shakura has a string of awards including Maple Blues, Juno, Blues Music, Indie, IBC, Best Female Vocalist, and numerous band nominations.
For, “The Devil Only Knows My First Name,” funky best describes its introduction by lead guitarist Paige Armstrong with his black beret and white guitar, and drummer Jeremiah Thomas in his tight, black tee. The whole band builds it together until songbird Shakura, and they, soar. What a lift off!
“Plattsburgh! Home of the real New Yorkers, is it alright if we do some blues…?” Shakura asks the hundred or so gathered to take flight with her and her group at Olive Ridley’s as she sings, “Getting Along Alright”. She fills the air with soul, lays her head on Paige’s shoulder, during his lead, and dances to his groove. We shout our approval and loudly applaud.
For “Walk Out That Door”, Roger Williams’ jivey, grooving solo on his 5-string, bass guitar, and Chuck Campbell’s pedal, steel guitar sing right along with sexy, sultry Shakura. Like a hummingbird, she never stops moving.
Photo by Beckie O'Neill
With Jeff Thomas’ permission, Shakura changed his hit, to - “Queen of Rock and Soul”. Paige and Chuck get it going. Shakura belts out her lyrics while Roger and Jeremiah back it all up for our enthusiastic response.
Here and elsewhere, Paige, Jeremiah and Chuck harmonize to Shakura’s crystal clear, at times booming then lilting, voice which seems to rise all the way up from her feet. For, “That Ain’t Right,” she recruits us to thrust our fists high and sing the refrain.
“All the way from the windy city of Chicago, give it up for Jeremiah Thomas,” Shakura urges during, “Tastes Like Honey”. With her hips, she matches beat for beat Jeremiah’s flawless percussion. He has played with her for two years. In that same song, Chuck, who came on board this summer, and was introduced earlier by the Producer of Plattsburgh Blues and Jazz Laura Carbone, as “one of the best pedal steel guitarists in the world,” rocks it as well. Zipping and zinging along, his finish is orchestral.
About Laura Carbone, Shakura reminds the crowd, “She is a national treasure. So, treat her good. You hear me?”
Then, as if extending wings, Shakura raises her arms and waves her hands, while her wide sleeves float like plumage for the poignant finale of, “Don’t Tell Mama Where Her Children Hide.”
“My Mom was a Civil Rights activist who always told me, ‘There’s just one thing I want you to do… use your voice!’” Shakura launches into the Doobies’ “Taking it to the Streets.” Chuck’s pedal-steel sounds at times Hawaiian, ethereal, moog-synthesizing. Shakura struts then appears to fly as her voice rises.
The second set leads with “Blues Dancing” – jazzy, mellow, each musician in his own zone, yet melding with the others into a soulful, bass solo by Roger, who has been with Shakura for seven years. “Are you hear with someone you like to touch? Please come up here. To the dance floor. Face each other,” she says. Hmm, we dance… a nice… slow one.
“Geechee Woman.” Swinging, rocking, grooving, moving. Shakura leans her back against Paige’s and writhes while he leads. The dance floor fills up. Blues is in the building. It’s a smiling-time all around.
Photo by Mary Valley
Here comes the funk. A birthday song for concert-goers, John and David. The crowds joins-in with clapping and stomping. Shakura throws in a high kick for emphasis. She is one he_ _ of an entertainer.
“Sweet Spot”. Shakura singing, bouncing. The musicians speeding, peaking. The crowd pleading, screeching. Steel guitar moaning, wailing. Paige adding vocals to the mix. Jeremiah and Roger hold it all together.
“Time,” initially haunting with the harmony, dancers swaying to the music, Shakura repeatedly shouting, “Time!” Everything coalescing into a frenzy of mesmerized dancers.
With “Ain’t Got Nothing on Me” there’s Shakura’s soft singing to Roger’s distinctive rhythm and Jeremiah’s persistent beat then Paige’s psychedelic lead and Chuck’s mind-expanding chords. Heartfelt. Energetic. The band leaves the stage. What? The crowd isn’t having it!
Encore - “Clap Your Hands and Moan”. They’ve saved the best for last. Bass man Roger introduces it. Drummer Jeremiah wobbles his cymbals. A peaceful feeling fills the room and lullabies the crowd. Chuck’s steel guitar warbles like a church organ. Paige, along with others, adds harmony. Shakura moans, anguishes her face, and her body and voice cry together for an emotional ending to the evening.
Paige who has played with Shakura for four years, later shares, “She’s really helped me grow in the blues.”
“She really tries to uplift people. When you come to see her, you become her congregation,” Chuck adds.
“I stand in truth. I pray before I go on, to remember to be in the moment, to not have an ego, to be authentic,” Shakura says.
She had us - at every moment.
[“Shakura S’Aida” Laura Carbone Facebook page and PB&J: Plattsburgh Blues and Jazz Facebook page,November 16, 2017, Beckie O’Neill]