Excerpted from the UCLA
"Daily Bruin," Tuesday, May 25, 1999:
(Reviewed by Brent Hopkins, Daily Bruin Staff)--"As far as
atmosphere goes, Genghis Cohen
[Cantina]....is not Carnegie Hall. The advantage of this
nontraditional venue is that the simplicity of the location shifts listener's focus from
the surroundings to the music being played.
"For Partners in Rhyme's Sunday night performance [May 23, 1999],
this was just what the songs called for. A simple, stripped down lineup of four
songwriters and their acoustic instruments, Partners in Rhyme offered only emotion and
talent to convey its message.
"Comprised of mostly local [Los Angeles] players, the show is the latest in
a series that organizer and performer Mark Islam has been putting together since 1993. The
concerts have a dual purpose: to spread awareness of the contributing musicians and to
raise money for charity. This latest incarnation's proceeds were donated to Children of
the Night, a non-profit organization dedicated to keeping children out of prostitution and
pornography. This commendable goal is worth mentioning, but the music the foursome
provided in the dark room was even more noteworthy.
"Islam, a singer-guitarist with ties to both Los Angeles and Nashville, was joined
by fellow guitarists Robin Pearl and Noah Stone, as well as Rick Cunha, making his first
Partners in Rhyme appearance. The four sat in a row, sharing the spotlight, listening to
one another as each showcased their songs. From the beginning, the mood was light. As they
plugged in their instruments and tuned up, they joked and chatted amiably, helping one
another prepare for the performance. They sampled different genres, borrowing mostly from
folk, but throwing in a healthy dose of country and acoustic rock and roll, along with a
touch of jazz. Islam began with a brief introduction, then played a bluesy "You've
Come a Long Way Baby." The others sat attentively watching, tapping their feet in
time with the song. The evening proceeded in the same fashion. As each artist performed,
the others observed, enjoying the tunes just as much as the small audience did.
"Though they didn't directly interact with each other musically too frequently,
their interplay between songs was key to keeping things light and enjoyable....For the
most part, the linear performance, with each artist playing one song at a time, worked
well. The songwriters brought their own strengths with them, making each song distinctive
and different. Islam had the most sensitive style, sounding honest and open as he worked
through his songs.
"Cunha was more of a storyteller, singing tunes about yo-yos, trains and family
members as he plucked at his guitar. Pearl threw herself most whole-heartedly into the
material, screwing her eyes shut and belting out lyrics in a breathy, yet powerful,
voice....With a style heavily indebted to Bob Dylan...[Stone] was both charismatic
and smooth behind his guitar and harmonica....[His] songs were both amusing and
forceful....
"If a critique of the show can be offered, it is that the foursome did not
directly play with one another as frequently as they should have....[but] the
performers were more than competent in their own light. By the time the lights came up.
all had proved their worth in their own fashion."
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