Pianist Lewis Porter and Guitarist Freddie Bryant to Perform

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WILLIAMSTOWN, Mass. - Lewis Porter and Freddie Bryant will be giving an impromptu concert on Tuesday, Nov. 17, at 7 p.m. in Chapin Hall on the Williams College campus.

This free event is open to the public.

The smallest possible music group is the duet. This does not mean, however, that they only play two lines with and against each other. It is not only that a guitar and a piano collectively command a lot of strings. Especially in the case of this duo, many lines drawn from a vast collective experience in American jazz, African traditions and from the ragas and rhythms of India are woven together in a mesmerizing tapestry of improvisational music that is at once contemplative utterly listenable.

Freddie Bryant, whether through wanderlust or because he is blessed by some god of travel, sure gets around. His musical travels have brought him to audiences in Africa, the Americas, Asia and Europe. A musician at home in his own skin, his ability to fit in is just one of his many great qualities. His exposure to world music and to alternate universes of rhythm and harmony would be the envy of any ethnomusicologist. Brewing within him is a synthesis of many traditions.


It is a responsibility he takes seriously as a performer and composer. Interweaving this material is a passion for this quiet and affable man who earned a Master’s degree in classical guitar from the Yale School of Music and currently teaches at Williams College in Massachusetts in the Africana and Music departments and the Prins Claus Conservatory in Groningen, Holland. As if this was not enough to lend him audience drawing street cred, he has collaborated with Salif Keita (known as the King of Afro-Pop), the Indian sitarist, Shubhendra Rao, the Kenyan singers—Achien’g Abura and Suzanna Owiyo, the Taarab master oud player Zein L’abdin, traditional groups in Saudi Arabia and the U.A.E and Israeli klezmer clarinetist, Giora Feidman. In 2006 he performed in Cuba as a solo artist and spent a week of musical exchange with Cuban musicians.

No less peripatetic, and no less steeped in varying traditions of music, especially the oral tradition of America called jazz, Lewis Porter is a pianist whose music is "founded upon depth and cunning use of space." As a performer he has traveled widely and shares his knowledge, directing the Master’s program in jazz history at Rutgers. He has performed recently with such artists as Bela Fleck, Wycliffe Gordon, Ravi Coltrane, Don Byron, Joe Morris, Badal Roy, and Jane Ira Bloom; he performed in Europe in November 2007 with Dave Liebman. His scholarly activities are no less illustrious: Prof. Porter is a noted jazz authority.

The result is a music which can be enjoyed at a number of different levels. It is a beautiful friendship of music which cannot help but speak to the heart by way of the ear.
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Theater Review: 'Driving Miss Daisy' Is a 'Wondrous' Production

By Alan PetrucelliSpecial to iBerkshires
PITTSFIELD, Mass. — Alfred Uhry's "Driving Miss Daisy" rolled into the St. Germain Stage in late May, marking the opening of Barrington Stage Company's 2026 season.
 
And what a wondrous, welcoming production it is. Uhry won a Pulitzer Prize for his work; he won an Oscar for the 1989 film adaptation of the play, which also won the Best Picture Oscar. Yes, that's how good it is.
 
Daisy Werthan is a 72-year-old white Jewish widow in Atlanta whose car accident destroyed her Packard — and her chance to ever drive herself again.
 
"Mama, we are just going to have to hire someone to drive you," her adult son Boolie tells her. 
 
She is adamant: "What I do not want — and absolutely will not have — is some chauffeur sitting in my kitchen, gobbling my food and running up my phone bill."
 
Enter Hoke Colburn, an unemployed African-American illiterate who grew up in rural Georgia during the Jim Crow-era South. Boolie hires him at $20 a week, and in a span of 85 minutes and a decade or so, this odd couple develop a tight bond that overcomes their cultural, gender and class differences. 
 
Though she's living in a racially explosive time in the South, the irascible Miss Daisy doesn't consider herself racist, nor does she fully accept the realities of the racist culture that has even resulted in a bombing at her own synagogue (a true event in Atlanta, in 1958).
 
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