Wynton Marsalis Featured In Benefit Concert

Your Worst Concert Experience: The Phantom Grabber

22 to benefit Christian Community Action. The Yale Institute of Sacred Music is a major sponsor of the event, which also will feature Chorale Le Chateau conducted by Damien Sneed. The performance, titled Abyssinian: A Gospel Celebration! takes place at 7:30 p.m. at Woolsey Hall, corner of College and Grove streets. The concert supports the work of Christian Community Action in providing assistance, support, and housing to those who are poor in New Haven. A New Orleans native, Marsalis became the youngest musician ever to be admitted at age 17 to Tanglewoods Berkshire Music Center, which awarded him its prestigious Harvey Shapiro Award for outstanding brass student. He assembled his own band in 1981, performing over 120 concerts every year for 15 consecutive years, along the way rekindling an interest in jazz throughout the world and attracting young talent. Also a classical music performer, he has appeared with leading orchestras around the world and won a Grammy Award for his debut recording. He has produced over 70 records, and won the Pulitzer Prize for Music in 1997 for his epic oratorio Blood On the Fields. Marsalis has also been a prolific composer, creating new music for dance performances, big band, gospel choirs and symphony orchestras. In 1987 he co-founded a jazz program at Lincoln Center; due to its success, Jazz at Lincoln Center was installed as a new constituent at the venue. Throughout his career, Marsalis has helped to educate youth about music and has been engaged in philanthropic ventures. Following Hurricane Katrina, he organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. He has also donated his time and talent to organizations ranging from My Sisters Place (a shelter for battered women) to Food for All Seasons (a food bank for the elderly and disadvantaged), as well as to the Childrens Defense Fund, Amnesty International, and the Newark Boys Chorus School.

He was gone. We watched him work his way down the line, grabbing the asses of everyone he passed without regard to gender, race or age. The Phantom Grabber was an equal opportunity criminal, and to be honest, it was impressive to watch. He moved like a dancer, darting in and out of the pressing bodies faster than the constricted space should have allowed. It was fluid and fast, and you could tell he was a true pro. He had clearly been perfecting his craft for years, and if I had to bet, Id say he was still attending shows in the greater North Carolina regionmaybe the entire mid-Atlanticgrabbing away. Hes probably the White Whale for concert security forces all across the state. No one has ever caught the Phantom Grabber. Nate and I probably should have tracked him down and meted out that vigilante justice. That would have been the manly thing. Nate was tough and I could pretend well enough, and the Grabber didnt seem like the type who could hold his own without the cover of a crowd.