– A fusion in a spirit of invention –

Jevon’s chocolaty deep heldentenor vocals retain a classy integrity, while his uninhibited technique rips asunder the very fabric of convention.

He weaves his spell of dreams, using fingers of inspiration, with threads draw from a myriad of theatre-art, popular, classical, jazz, folk, improvised, contemporary, poetic and experimental genres.

Jevon is considered a renaissance man; a contemporary singer-nonlinear storyteller-troubadour, who performs songs and orations in his own unique electro-acoustic manner.

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Jevon

Mission Statement:

– To unceasingly strive towards vocal excellence while using every appropriate and available means of expression.

– To unceasingly strive toward vocal excellence even when it may be necessary to disregard artistic convention.

– To unceasingly strive toward vocal excellence when rendering topics both poignant and philosophical.

– To abide by the motto “Pioneers do not seek approval.”       

 

Recent Reviews:

Reviewed by Simon Jenner – Waterloo Press. (27th October 2014)

The recitation of his own texts, invoking both star and stone, living and inorganic invocations, if stones could pray, perhaps this is what they might invoke, to Antoni-Jay’s astonishing assemblage of hieratic calls to prayer: Sephardic, Imam’s calls, Coptic Christian vocalising, and a sense of great almost prehistoric antiquity, is evoked in an effortless pilgrimage across religions and sympathies. Antoni-Jay’s voice owns a sonance a deep resonance and an extraordinary range from high to gravelly, that you sense comes from all his experiences, and those are tabulated in the programme, and much else from within him. This was very much his piece: he gave more to it than the devising of text, scenario, costume and lighting, even performance. He gave us something of himself, and in that, like all great art, one comes away more humanised.

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The first of these items dated to 1972 and was redolent of its period, Patrick Harrex’s Passages for Vocalist. This Harrex suggested by analogy was the propagation of cells in host organisms, and if that sounds edged in fleeting images then Jevon Antoni-Jay embodied that in both singing and presentation, a kind of 1970s apparition himself. The vocalising references Harrex’s admired John Cage, and if as Cage once told an audience in Huddersfield I was part of, get out of any cage you find yourself in then, the exit was marked Giacinto Scelsi out of Meredith Monk (not of course known in 1972). Antoni-Jay arrayed, the only word, in an avatar of theocratic robes and slashed garb all designed by himself, used the edge of his palate, as if performing the scalloped edges of the notes he sang. There were flutter-tonguings and other techniques not associated with singing but playing reed instruments. The effect was not unlike a Sciarrino opera, for those who’ve come across his works (which NMB audiences are likely to have). More important, Antoni-Jay convinces you he embodies what he performs. It was a strong opening in a concert dominated by him………

Antoni-Jay returned to inhabit, literally, a kind of bandaged white shroud like a leper coming on stage like a shuffling tramp but again with complete stage presence: this is the man who designed for the Stanley Baxter Show and even Coronation Street, danced with everyone and choreographed and created costumes for many, many productions. Thus the professional presentation, the dramatic certitude was overpowering for the small church. His own Urban Folksongs with three texts that ran from sing to sprach to reading, referenced the Raggle-Taggle Gypsies and a battery of vocal techniques as the singer made his foray to the centre of the aisle, often lowering himself. This is the kind of performance you need to go back to, layered as it is and impossible to grasp and recall in particulars even hours after save its unforgettable impact……

This Prelude was aptly named, since 70% of the second half was again Antoni-Jay’s this time performing and more or less inhabiting a piece Dawn State devised by himself with a track of Ric Graebner’s. This haunting track is rich enough as a stand-alone of some minute’s duration, starting with cicadas and other concrete exotic sounds and moving into a stratosphere of languages both stellar and historical. Antoni-Jay loomed on to a darkened stage with flickers of ruby, emerald and white lights in a hieratic dress, deeply serious yet smiling: the alienation is both curiously exotic and at the same time not placeable, standing out of time, and somewhere with its head in the stars which is what it looked like in this reverberant acoustic. In lighter moments, it seems a cardinal’s hat out of Star Trek, a cloak with the lights sewn in, and you also get the sense of Ken Campbell’s Illuminatus that legendary nine-hour play experiment of the 1970s.

‘The recitation of his own texts, invoking both star and stone, living and inorganic invocations, if stones could pray, perhaps this is what they might invoke, to Antoni-Jay’s astonishing assemblage of hieratic calls to prayer: Sephardic, Imam’s calls, Coptic Christian vocalising, and a sense of great almost prehistoric antiquity, is evoked in an effortless pilgrimage across religions and sympathies. Antoni-Jay’s voice owns a sonance a deep resonance and an extraordinary range from high to gravelly, that you sense comes from all his experiences, and those are tabulated in the programme, and much else from within him. This was very much his piece: he gave more to it than the devising of text, scenario, costume and lighting, even performance. He gave us something of himself, and in that, like all great art, one comes away more humanised.’

                                                                                                                                                                                       

Reviewed by Carole Bremson  -Equity (27th October 2014)

Went to see an extraordinary virtuoso performance tonight by an all too modest Jevon Antoni-Jay. This must not be a one-night only gig, Jevon-you are a true original and must be seen.’Dawn State’ was the culmination of a life-time of theatrical experience which mesmerized and transported on so many levels. Great stuff, mate!