Vincent Cross

"GREAT, POSITIVE RECEPTION" at an ARTISTS WITHOUT WALLS' SHOWCASE

“I’ve just come back from one of the coolest gigs I have had the pleasure of performing. It’s called Artists Without Walls. What an excellent, upbeat, positive group of individuals. Thanks Clyde Berger for turning me onto them. Great positive reception to my music too.” Toby Tobias

And upbeat it was. The evening began in rocking style with Terry McCarthy and his new acoustic band featuring Gerry Griffen, Andy Sandel and Tom Monaghan. Terry played three songs from his latest release The Charm: “By Any Chance,” “Sorrow Salsa” and “Just Today.” As an encore Terry debuted “Anything to Have You Here.” Click here to listen to Terry’s music.

Connie Roberts read three poems from her newly released collection Little Witness. “This is the poetry of rock-hard experience. It will skin your soul,” New York Times journalist Dan Barry wrote. Her first poem, “Inheritance,” memorialized 35 children and one old woman who perished in an orphanage fire in Cavan town in 1943. Her poem “For the Love of God” was an homage to an orphanage housemother, Miss Winifred Carberry, who took care of her as a child. And, just to prove that there are in fact a few happy poems, alongside the Irish-miserable-childhood ones in Little Witness, Connie finished with a life-affirming piece entitled “Campground: The Adirondacks.” Little Witness is available by clicking here.

“Well done to you and your team of volunteers. Community! I really enjoyed performing, and was mighty impressed with the talent. Such a diverse group of artists displaying their multi-talents,” Vincent Cross said.

Vincent, mixing guitar and harmonica, performed his sombre songs of jealousy, murder and biblical redemption, “Childish Things,” “Cursed,” and “Bowed Down” with a voice both high of tenor and plaintive in tone. Picking the guitar with melody, chords and bass lines, the hard knock songs of the wayfarer came to life.

“Spirit of Vaudeville,” performed by Richard Stillman and Flip Peters, captivated the AWoW audience. Richard is a entertainer in the style of the jazz age performers of the 1920’s. His combination of banjo playing, tap dancing, singing, ukulele strumming, storytelling, harmonica & bones playing and juggling is a joy to watch. Flip Peters is an excellent jazz guitarist and accompanies the show with great skill. We look forward to the full show on June 11th at the Concert Space at Beethoven Pianos, which Project 142 is sponsoring.

First time AWoW performer South African-born singer-songwriter and musician Toby Tobias followed with and a performance style that could be described as a colorful combination of African rhythms interspersed with American country, folk and jazz, with lyrics that are both thought-provoking and uplifting. His music was thoroughly enjoyed by an appreciative audience, especially ‘Madiba’, a song Toby wrote in dedication to Nelson Mandela. Toby has been living in the United States for 27 years and performs his brand of music throughout Long Island, Brooklyn and the tri-state area. Click here to check out his music.

**Shu Nakamura, John Liam Shea and Jenny Evans**

John Shea read a short story “The Guilt and the Ghosts” from a new collection of the same title with accompaniment from fiddler Jenny Evans. “John’s short story was pure poetry! Simply brilliant. I loved the rhythm, the wit, the pathos–it had it all going on. And I loved Jenny’s accompaniment on the fiddle. It reinforced all of the aforementioned. Fantastic collaboration.” Connie Roberts

Shu Nakamura performs solo with his band “the Ninja Orchestra” and collaborates with other artists regularly in NY area and Japan. Shu plays what he calls “folk-root” music, as well as rock material such as the two songs that rocked the house, “Train Song” and “Rain Dance. ” Shu was then joined by AWoW’s cofounder Niamh Hyland who sang a stirring version of the Irish classic, “Wild Mountain Thyme” and closed with a rousing rendition of “Resurrection.”

All photos by Vera Hoar. AWoW’s next Showcase will be at The Cell Theatre on Tuesday, May 26th, 6:45pm.

VERA HOAR'S PHOTOS CAPTURE AWoW's APRIL SHOWCASE at THE CELL

Vera Hoar’s photos from Artists Without Walls’ Showcase at The Cell Theatre, April 28, 2015

**Terry McCarthy, Andy Sandel, Gerry Griffen and Tom Monaghan**

TALENT GALORE at AWoW's SHOWCASE at THE CELL THEATRE, TUESDAY 4/28

“This is a note of thanks to Artists Without Walls for supporting my efforts through pictures and words these past months. I’ve been working as an actor for at least twenty five years now and I’ve never before been involved in anything quite like this. AWoW is a unique blessing. So happy to be a member.” Jack O’Connell, actor, New York

Here’s the lineup for AWoW’s April Showcase:

Vincent Cross, who first performed with AWoW in its show “Rise Up Singing: Women in the Labor Movment,” will be performing at his first Showcase. Vincent will be drawing from the purist of mountains springs to present original urban Americana stories. Said, Vincent, “These will be performed in the high lonesome sound on guitar/banjo.”

Connie Roberts, a County Offaly native, emigrated from Ireland to the U.S. in 1983. She has won many awards for her poetry including the Patrick Kavanagh and the Listowel Writers’ Week awards. She will be reading from her just released debut volume, Little Witness, a collection of poetry inspired by her experiences growing up in an industrial school (orphanage) in Ireland.

Here’s what Jack Silbert, DJWriter at satin wound.com said about singer/songwriter Terry McCarthy. “Terry really turns on the charm on his album, The Charm, with a warm strum and even warmer vocals throughout. With tremendous backing musicians, the record presents a wide variety of sounds, never falling into a folky funk….but the secret weapon is McCarthy’s sharp, melodic songwriting, on Beatlesque tracks such as “Loneliest Boy” and the should-be-a-hit “Just Today.” Terry will be joined by Andy Sandel , Gerry Griffen and Tom Monaghan.

Richard Stillman and guitarist Flip Peters will be performing numbers from Richard’s show,”The Spirit of Vaudeville,” including a tap dancing Charleston played on tenor banjo, a short story that finishes with Richard tap dancing while playing the harmonica & bones while juggling and a novelty ukulele routine. “The Spirit of Vaudeville” won a Best Concert Award at the 2014 United Solo Theater Festival.

Toby Tobias was born and raised in Johannesburg, South Africa. Toby has immersed himself in all genres of American Music of the last fifty years. His interest in African Rhythms & World Music, coupled with his keen ear for highly intuitive arrangements, has been the hallmark of his writing and performance styles, and he has garnered a strong following of listeners on Long Island and beyond. He will be performing a song called ‘Madiba’, dedicated to the life of Nelson Mandela.

Shu Nakamura, a Japan born – Brooklyn based musician, guitar player, multi-instrument player, composer, singer-song-writer, music producer. Shu moved to NY in 1999, has been a NY music scene layer. He just returned from his 2015 Japan tour with his rock band called “the Ninja Orchestra”. Shu will be performing his original material, as well as teaming up with Niamh Hyland for a tune or two.

The bar opens at 6:45, the show begins around 7:15. Hope to see you at The Cell Theatre, located at 338 W23rd St.

AWoW MEMBERS AROUND TOWN THIS WEEK

Jim Hawkins will be presenting a program of “Stories and Songs from the Irish Tradition” today, Sunday, 2pm at the Glen Cove Gold Coast Library, Glen Cove, LI.

On March 17 and 21, Jim AND Greg Ryan will be playing traditional Irish music and singing Irish ballads at the MacArthur Park Restaurant on Park Ave in Rockvile Center, LI. They will be playing from 5-9 on the 17th and from 1-4 on the 21st, after the Rockville Center St. Patrick’s day parade.

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Singer, storyteller & musician, Richard Stillman will be performing his Irish Balladeer show at 3pm at the Verona NJ Library. For info call 973 857-4848. The family show combines traditional and original Irish music, storytelling and step dancing accompanied on cittern guitar, banjo, mandolin, bagpipes, concertina, pennywhistle, bones, bodhran and harmonica.

Mary Tierney in "Sacred Sow" — **Mary Tierney in “Sacred Sow”**

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Mary Tierney will be appearing today, Sunday March 15, 1:30 pm in the Poor Mouth Theatre company presentation of A Night of Irish Storytelling” “Sacred Sow” written and directed by Ellie Cummings.

Located at 445 W238th St., Bronx, NY. Admission $18 available at the bar

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Nancy Redman won Best Comedian Award United Solo 2014 for her one woman play “THE DOCTOR IS NOT IN” directed by Austin Pendleton. She will be performing “THE DOCTOR IS NOT IN” Sunday, March 15, 2015 at 7pm at Abingdon Theatre Company Dorothy Strelsin Theatre, 312 W36th St. 1st Fl., NYC

Nancy recently performed “The Doctor Is Not In” at the United Solo Theatre Festival 2014 and received the award for “Best Comedian.”

Tickets are $20.00 Use Code Doc315 for a $15.00 ticket. Click here for tickets

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Singer/songwriter Vincent Cross will be at Scratcher Cafe, 209 E.5th St., Sunday night, March 15, 7:15

From Vincent: “Traditionally, St Patrick’s Day would be just the day of March 17th, but living here in the US, there seems no end to the various celebratory parades. I’m not complaining of course, as I can claim that my upcoming show at the Scratcher is to commemorate the Saintly man himself; however, I would like to invite folks out to hear some newly written tunes at the one and only Scratcher Bar on the Lower East Side. That day being March the 15th at 7:15pm on the dash. There are usually two acts split over two hrs with fifteen minutes between each. I’m not sure who will be sharing the stage with me, but be sure to catch both sets. Oh…and if you join the Facebook invite here, I’ll be eternally grateful.”

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Singer/songwriter Ed Romanoff, who recently concluded his tour of Germany and Ireland now wraps up in NY next week. He’s bringing along one of his favorite players, Clive Barnes from Kilkenny Ireland. Clive’s a blues powerhouse and has played with many legends. Join them for some new songs and some new sounds.

16th March Rockwood Music Hall Stage 3-NYC 7pm
17th March Parkside Lounge -NYC 8pm
18th March Bearsville Theatre – Woodstock New York 9pm

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Cajun Music — **Brooklyn Cajun Jam Session**

Whatta Weekend! Saturday March 21st, 3PM -12midnight

The next session of the traditional Brooklyn Cajun Jam Session at the fabulous Jalopy Theatre in Brooklyn, will be lead by Tim Kness and open to all musicians at the Jalopy Theatre and School of Music, Brooklyn, NY (Red Hook Neighborhood) 315 Columbia Street (Between Hamilton & Woodhull) Brooklyn, NY, 11231.

Jam at 3PM, Eat at 6PM and Dance at 8PM!

VINCENT CROSS: A NIGHT of BLUEGRASS and AMERICANA in BROOKLYN

This Saturday night, July 12th, 9-11PM, singer/songwriter and Artists Without Walls’ member Vincent Cross will be appearing with EuroGrass at the Jalopy Theater, 315 Columbia St, Brooklyn.

**Shane Kerwin, Vincent Cross, and Billy Failing**

” I’m very excited to be bringing this one-off show to NYC with the incredible Mala & FyrMoon and my colorful troupe of musicians,” said Vincent. “This may be my only show this year with a full-band line up!”

Check out our short little teaser film below that shows the boys working up a tune.

New York friends can join the Facebook invite, and spread the news!. You can purchase your tickets in advance to guarantee a seat.

"SPOTLIGHT ON" SINGER/SONGWRITER VINCENT CROSS

Who is Vincent Cross?

I’m an Irish-born, Australian-raised roots-oriented songwriter and composer, now based in New York City.

Do you have upcoming events you’d like people to attend?

Yes! I’ll be showcasing at this year’s Folk Alliance in Kansas, Missouri, touring California in the spring, and Australia in the summer. For folks interested in more details, you can find the dates and venues on my website: www.vincentcross.com

LISTEN TO VINCE SING: Home Away From Home

What is/are your favorite songs/albums?

So to the albums, let’s line up the Dylan’s first. There’s the first album, Bob Dylan that has only two originals. Then Freewheelin,’ that was nearly all self-penned tunes, with the classic ‘Blowing in the Wind.’ My all time favorite, though, has to be the Times They Are a-Changin’. It was a game changer in terms of what can be done with great lyrics and simple acoustic accompaniment. You couldn’t help but be drawn into these hypnotic ancient tales of murder, pain, and loss. Who were these people? What history was this? To be honest, Dylan’s early albums formed my interest in roots music. It was the chance encounter with a 5-string banjo player while busking on the streets of Zurich in my late teens that continued my interest in acoustic roots music, as I was introduced to bluegrass. That was my second musical awakening.

Bluegrass seemed both familiar and challenging. I was writing songs but I was also seeking something musically that would help me grow as a musician. You could only go so far with Dylan and his solo guitar, and the electric stuff, well, which was electric anyway. So when I bumped into a bluegrass banjo player in Switzerland, and started busking, I received a first rate education on Flatt and Scruggs, Bill Monroe and still my favorite, the Kentucky Colonels their Living in the Past, and Muleskinner still blowf my mind. I moved to London and became manic about playing guitar like Clarence White, and practiced all day long while playing bars and cafes and on the subway for living expenses. I kept that going for a couple of years listening to as much bluegrass as possible, and almost lost sight of the fact that I really was songwriter and that lead to my interest in other songwriters.

The emergence of songwriting as a force sort of began with an interest in Leonard Cohen’s Other Songs, andTom Waits, Rain Dogs. Those guys were fascinating, but their frame of reference was harder for me to focus on. They seemed to be more about the persona than the song, and so I wasn’t sure about their music. I didn’t really get to more contemporary artists and their albums until well after they had established themselves such as Ron Sexsmith’s, Ron Sexsmith and Wilco’s Being There.

Who are the songwriters you admire?

Woody Guthrie was fascinating but way beyond my comprehension when I first heard him. If you thought Dylan was rough and raw, then Guthrie was another world entirely. His songs were so real, and so I was happy to keep listening to Dylan. No songwriter completely obsessed my adolescent mind as much as Dylan, he just seemed to have put together the best of Americas roots music, and coupled that with the best songwriting ideas under one roof. He had the delta blues of Robert Johnson, the Appalachian high lonesome sound of Roscoe Holcomb, and the confessional voice of Hank Williams. After Dylan (AD) we had a whole slew of guys and gals that had something to offer: Tom Paxton, Phil Ochs, Leonard Cohen, Joni Mitchel, Paul Simon, John Lennon, Ralph McTell, Christy Moore, Paul Brady, Shane MacGowan, Dick Gaughan, Tom Waits, Nick Cave, Steve Earl, Ron Sexsmith, David Gray, Jeff Tweedy, Gillian Welch and Richard Buckner. I admire all these guys, and I bet I’ve left out a whole bunch of folks too.

Who is your greatest inspiration and why?

People should be inspiring but they don’t hold a candle to Nature. Nature would just blow that old candle out each time. It never ceases to amaze me and draw my attention to detail.

What are a few things you’d like to accomplish in the next five years?

1. In terms of recording I want to record a complete solo album straight to tape with just me on guitar. No over-dubbing and all live.

2. Touring globally in venues that are responsive to songwriters.

3. Maybe relocation, but it’s hard to leave New York. It’s still got everything going on.

If you could dream of trying something in the arts you haven’t tried, but would like to, what would that be?

Writing the memoir. This seems to be something hanging over most artists, so I’m waiting for justification, or at least the need to go on this adventure into the past.

Vincent Cross Facebook Page

Vincent Cross Website

REVIEW of "RISE UP SINGING: WOMEN IN THE LABOR MOVEMENT"

“Eloquent writing, beautiful voices, charismatic performers who connected with each other — it was an inspired evening.” Justine Blau, author of “Scattered: A Mostly True Memoir,” after attending “Rise Up Singing: Women in the Labor Movement” at Lehman College.

On Tuesday night, The City & Humanities Program, in conjunction with the CUNY Institute of Irish American Studies and the Department of African American Studies at Lehman College, presented writer/creator Charles R. Hale and a brilliant cast of Artists Without Walls’ members in “Rise Up Singing: Women in the Labor Movement” a multi-media event incorporating storytelling, film, photographs and music.

The evening began with Honor Finnegan’s rousing performance of Jack Hardy’s “Aint I A Woman,” a song borne of Sojourner Truth’s speech on gender inequalities. Actor Jack O’Connell followed with an introduction in which he quoted author John Steinbeck: “We learn a great deal about people by listening to their music. Listen to their songs, for into the songs go the anger, fears and frustrations, the hopes and aspirations.”

Throughout American history, activists have adapted the lyrics from spiritual songs and applied them to various causes. Singer Antoinette Montague and pianist Sharp Radway followed a short story, accompanied by photos, of the deadly 1911, New York City, Triangle Shirtwaist factory fire, with an inspired rendition of “We Shall Not be Moved,” a American folk song whose lyrics date back to slave era. One-hundred-forty six women, mostly young immigrants, lost their lives at the Triangle factory fire.

A year after the Triangle fire, striking women mill workers in Lawrence, MA were surrounded by the threat of physical harm. They continually sang “Bread and Roses,” a poem written by James Oppenheim, put to music. Honor Finnegan and guitarist Vincent Cross gave rise to the spirit of that event with an intense performance of “Bread and Roses.”

Following the Civil War, racial prejudice kept African American women working in jobs such as cooks, maids and laundresses. Spoken word artist Koro Koroye presented a poem that she wrote, called “The Sickness of Freedom,” which poignantly describes the difficulties faced by African American women, many of whom were slaves and daughters of slaves, in the post Civil War era.

**Antoinette Montague and Sharp Radway**

Woody Guthrie was an American singer-songwriter whose musical legacy includes hundreds of songs about the experiences of the poor and oppressed. Woody’s song “1913 Massacre” is one of the most powerful interpretations of the Calumet, Michigan tragedy in which seventy-three people, mostly striking miners’ children, were trampled to death on a staircase during a Christmas Eve party. Vincent Cross evoked the spirit of Calumet and Woody with a stirring rendition of Woody’s tune.

Women have written a number of “workers” songs. One of them, Diana Jones, performed two songs she’s written, the heartbreakingly tender “Henry Russell’s Last Words,” in which she was beautifully accompanied by violinist Annette Homann, and “I Told the Man.” Each song tells the story of miners trapped hundreds of feet below ground, writing farewell notes to their families.

In the summer of 1968 six miners were trapped for 10 days in a cold, flooded mine in the Appalachian hills of West Virginia. Jeanne Richie wrote a song from a wife’s viewpoint called “West Virginia Mine Disaster.” Honor Finnegan sang and performed from the perspective of a trapped miner’s wife and Jack O’Connell played the trapped miner who describes the horror of the experience. The back and forth between Finnegan and O’Connell was exceptional and one of the evening’s many spectacular performances.

Addie Wyatt, who became the first African American woman to retain a high position in an international union, couldn’t do enough for people. She was born into poverty in Mississippi in 1924 and grew up in Chicago during the depression. When Addie was a child she played piano for her church choir…she even sang with the great gospel singer Mahalia Jackson. Addie’s life was marked by “getting over” indignities such as discrimination and prejudice. Koro’s poem “Praise,” speaks to the pain of Addie’s setbacks but ends triumphantly with the words “I prayed until I got over.” This was a perfect lead-in to final tune of the evening, “How I Got Over,” which was popularized by Mahalia Jackson. Singer Montague, pianist Radway, violinist Homann and Koro combined to create a unique and rousing ending to the show.

Photos by Cat Dwyer.