“Music and Evening glow”, the debut noble cause benefit show put on by the Delight and Care-Giving Establishment Inc (JCGF) and the Flagler District Make It-Take It program was a dazzling achievement. Indeed, even with the show running long (almost more than two hours), the crowd was blessed to receive music, dance and comic dramas that engaged at the absolute most significant levels conceivable.
Space won’t allow an itemized survey of each and every exhibition, except countless them stuck out. The show opened with the Indian Paths Horse Band (center schoolers) and individuals from the Matanzas Secondary School Walking Band playing our public song of praise after a moving drum-driven walk to the stage. Then, at that point, Mr. Tito Lagonera sang the Philippine public song of praise. (JCGF assembles schools for oppressed youngsters in the Philippines).
Mr. Lagonera’s voice moved to our ears. He was fundraiser for schools by the Filipino crowd individuals with wonderful and ardent voices.
The joined band then, at that point, continued to surrender us a couple rhythm numbers that shook and trapped the crowd into glad cooperation. Much to our dismay that this brilliant beginning to the show was just a little sign of what was to follow.
After Flagler Schools Steel Drum Troupe engaged us with the Subject From the Pink Puma and Out of control Town, the crowd excited to the melodic ability of Justine and Derrick Tiu. Justine emerged with the longest woodwind I’ve at any point seen (and that implies it was no doubt not a woodwind) while Derrick took a seat at the piano. What followed can’t be depicted as everything except hypnotizing. She played the Hungarian Song by V. Joncieres with a skill a long ways past her delicate years. This young woman played at a level that couldn’t be not exactly proficient. Derrick, on the consoles, was rich, delicate and steady, his rhythms absolutely free to the moving notes of the flute.
The crowd responded to the furthest limit of the piece with a thunder of appreciation. I for one was paralyzed by the magnificence of what I recently heard. Then, incredibly, Derrick stands up, recovers a violin while Justine plunks down to the console. Derrick continues to entertain us with Czardas by V. Monti. The piece starts delicate and calm, and occasionally sizzles, his fingers flying across the strings, once more, with a finesse past his years. When Derrick was done, I was so completely astounded I could not do anything more that cheer my appreciation with the remainder of the crowd. After a pleasant comic drama by The Seton Players, Sharon Resnikoff ventured to the stage with her acoustic guitar for two tunes. Both were her own pieces – She Rides the Breeze and The Rainbow Tune. While She Rides the Breeze was a sufficiently spotless piece of composing and playing out, The Rainbow Tune stood apart with a serious verse and guitar work deserving of the greatest degree of expert music. The Rainbow Tune is an affection melody that immediately conveys power and magnificence with wonderful guitar work entwined all through. At the point when this melody emerges, you will need to get a duplicate.
Later in the program, Jameson Kuang almost captured everyone’s attention. Furthermore, on the off chance that he didn’t, it was simply because of the great nature of the previously mentioned entertainers and a couple I still can’t seem to specify. In any event, he was the feature of an evening of features. Jameson played Ditty #1 in G Minor (Chopin). Played is extremely feeble a depiction. He imagined notes from his spirit and kneaded them into a piano console which thusly inebriated our ears with sweet music on a virtuoso level. It is basically impossible that a live piano might at any point create such effortlessness and energy. As his hands moved the length of the keys, there was no beating, no vamping, at this point strong, extreme strokes were created by hands and heart that became one with the instrument. This crowd was advantaged to observe Jameson Kuang’s energetic inspiration of Chopin. By my record, Chopin himself would have been glad for this exhibition.
It might be said it was a breeze from here on out aside from that Tito Lagonera got back to the stage, this time with Emelda Dinopol (Tito and Em). They played out a wonderful two part harmony, winding around their gifted voices around and through the melody The Request. Their harmonies were first class and their stage show completely proficient. A young fellow by the name of Sebastian Gutierrez then, at that point, made that big appearance behind the piano console and, alongside his companions, played us a few blues. I mean genuinely live blues. With an extremely skillful support band (bass, drums and lead guitar), Sebastian worked the console in an old fashioned, time blues riff that got the crowd by the ears. The main disgrace, all things considered, was that, given the delay of great importance, a sizeable piece of the crowd missed this extremely impressive execution.
There were different demonstrations of shifting degrees of ability. The hip twirling was intriguing. How they do all that moving is impossible for me to understand. The Seton Players returned for a much more interesting drama, however the finale with the Seton Blended Ensemble upheld by a more than skillful metal segment, shook Palm Coast one final time with a searing version of Go Ye Into All the World. Kermit Allison drove the performers and ensemble through an excited, enthusiasm filled crescendo that would have cut down the house in bigger settings.
Summarizing, for a meager $25, this show moved a long ways past its purpose to help the Delight and Care-Giving Establishment raise assets to construct schools in the Philippines. Coordinated and Composed by Kermit and Janice Allison, this show went to a level that necessities, no, that asks for a bigger crowd. One year from now, I’d wager there won’t be a vacant seat in the amphitheater. I realize without a doubt I’ll be there.