Paul Robeson was a polymath—lawyer, athlete, and megawatt stage presence with a resonant baritone known the world over. Like many Black American pioneers, Robeson's recognition came after he died. D-Composed is a Chicago-based chamber collective of Black and classically trained musicians who put a unique spin on classical and art music. D-Composed joined with baritone bass Davóne Tines and his band THE TRUTH for the Chicago premiere of ROBESOИ: An Electro-Gospel Acid Trip.
ROBESOИ: An Electro-Gospel Acid Trip was presented with new arrangements of Robeson's most-loved music by Ahmed Al Abaca. The music of the early 20th century had a florid sound. Lots of intricate phrasing in a waltz style. The new arrangements were deconstructed and taken down to the base rhythms and layered harmonies. It took on a brilliant hard edge that spoke to the trials and tribulations in the gospel hymns. I felt the words of the songs more on an emotional level.
The dirge-like melody and lyrics of "Nobody Knows the Trouble I Seen" went from being a lament to a rebellion. The meaning changed from "woe is me" to the defiance of "you have no idea of what I have seen and what I can endure, or what I will do." Tine's baritone bass is operatic in range. He effortlessly swoops from basso profundo to the dulcet countertenor notes. "Lift Every Voice and Sing" was sung at a slower tempo and intense phrasing. It transcended the choral standard and reached for the soul.
I expect that the D-Composed Chamber Ensemble will reach new heights and even larger audiences through collaborations such as ROBESOИ. The players were virtuosic in skill and tonality. They expand the parameters of the violin, viola, and cello to a new classical standard. THE TRUTH added electronic and acoustic layers to the strings with bass, drum, and synthesizer sounds. Samples of speeches by Robeson were added and reflected his conviction of equality and an equitable share in the American Dream. The combination of sounds also highlighted Robeson's dark moods, anger, and emotions from the loss of his career and public standing courtesy of the U.S. government's virulent anti-communism campaign in 1956.
The music arrangements by Ahmed Al Abaca pulled in samples and influences from Rodgers and Hammerstein musicals South Pacific and Showboat. Both are musicals with the pathos of human struggle including racism, miscegenation, and war. Songs from the American and gospel music canon are given a new emphasis from songs Robeson made into classics and introduced to audiences around the world. "Scandalize My Name" and "I'll Fly Away" take on defiance and rage. "Old Man River" leans into the zen of becoming one with the Mississippi River rather than trying to tame it.
I do have some quibbles with the tech and sound for ROBESOИ. The lighting was dim throughout the show with ochre and red tones. It was difficult to see the musicians and that was a shame. The emotion in music is partly from the faces and movements of the performers. A musician's body leans in and becomes one with the instrument. Think of Stevie Wonder effortlessly blending his voice and multiple instruments and seeing it all as one entity. I would have loved to have seen the emotional and dramatic interpretation of Robeson the American icon and the powerful musical selections.
My other criticism is the sound mixing. It was not on the same level as the music being played. Distortion can be artfully used without drowning out the singer. If it was a deliberate effect, it is not a wise move and detracts from the artistry of everyone on the stage. I know that this was an "electro-gospel acid trip" but it should not be the "brown acid" that was passed around at Woodstock. Tines has a powerful stage presence and gives gravitas to the music and Robeson's story. That should be allowed to shine.
The members of D-Composed for this performance were Caitlin Edwards on violin, Khelsey Zarraga on violin, Wilfred Farquharson on viola, and Tahirah Whittington on cello. THE TRUTH featured John Bitoy on piano and keyboards, and Khari Lucas on digital synthesizer and keyboards. D-Composed was founded in 2017 by Kari Coleman to promote Black classical musicians and composers. As artistic director, Coleman facilitates Black artists taking up space after being behind the scenes and subjugated for most of American history.
ROBESOИ is a masterwork of arrangement and performance. The Chicago premiere was marred by production quality in the lights and sound. It was recorded before the premiere. and I will look for the recording to listen and fully appreciate the artistry of D-Composed, Davóne Tines, and THE TRUTH. The concept and music were divine and transported the music to a new level. The sound and lights should be adjusted. I recommend ROBESOИ: An Electro-Gospel Acid Trip, but the rating averages out to 2.5 stars when it should have been 4.
ROBESOИ- An Electro-Gospel Acid Trip was performed on October 1 at the Harris Theater, 205 E. Randolph St. This performance was a part of the Harris Theater's Mix at Six series for 2024-2025. For more information about the musicians and future performances please visit www.dcomposed.com and also visit www.harristheaterchicago.org
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