Live Music: Robert Davi at Vibrato Grill Jazz…etc.

October 24, 2014

By Don Heckman

Bel Air. Robert Davi was back at Herb Alpert’s elegant Vibrato Grill Jazz…etc. at the top of Beverly Glen last night. And, as always happens in his performances, he spent most of his program demonstrating his belief in the Great American Songbook as “America’s Shakespeare.”

Robert Davi

Robert Davi

Davi, whose acting career began in a film starring Frank Sinatra, has been one of the most convincing Sinatra-influenced vocal stylists for most of his career. But, unlike the growing cadre of Sinatra wannabees, he’s never been an imitator. Inspired by Ol’ Blue Eyes, he has instead invested the lyrical expressiveness and rhythmic swing of the style with his own considerable interpretive skills.

As he did Thursday night at Vibrato. Backed by a solid, six piece band led by his music director, pianist Andy Waldman, Davi offered a program mixing Sinatra classics with an intriguing range of tunes from a variety of other sources.

For many responsive listeners, the Sinatra songbook items – “I’ve Got the World on a String,” “Just One of Those Things,” “Come Rain or Come Shine,” “That Old Black Magic,” “You Make Me Feel So Young,” “The Best Is Yet To Come” and “That’s Life” among them – were the high points. And there’s no disputing the fact that they were brought vividly to life within a Sinatra framing shaped by the Davi imagination.

Roberto Davi and his band.

Roberto Davi and his band.

Other songs were equally persuasive: a warmly intimate reading of “Moonlight In Vermont”; a stunning medley of “Old Man River” and “River Stay Away From My Door,” thoroughly displaying the rich timbres of Davi’s mellow baritone voice; a Broadway stage-worthy version of Stephen Sondheim’s “Send In The Clowns”; and a rendering of “New York, New York” deeply touching the heart of every former New Yorker (including this one) in the room.

Robert Davi walking the room

Robert Davi walking the room

Davi enhanced lengthy segments of many songs with tours through Vibrato’s forest of tables, using a wireless microphone to create an informal, living room setting. And he was typically humorous, as well, often jokingly arguing with some of his show biz friends in the crowd about the correct identities of various songwriters. In one especially amusing segment, he recalled meeting “Russia’s Frank Sinatra” during a concert program in Russia. Imitating what he heard, Davi sang “The One I Love Belongs To Somebody Else” with what can best be described as a hilarious Russian accent.

Robert Davi

Robert Davi

As he has done in past performances, Davi also sang “The House I Live In,” from a mid-’40s short film, featuring Sinatra. The film, rare for the time, offered powerful opposition to Anti-Semitism and racial prejudice. And Davi, always a strong supporter of the best characteristics in American culture, underscored the song’s contemporary value at a time when those characteristics are most needed.

In sum, Davi’s performance was a virtual seminar in how to bring imagination, creativity, musicality and the sheer pleasures of entertainment to a beautifully expressed evening of song. And it was done so well that it aroused – for this listener – a feeling I’ve occasionally had at past Davi performances: the desire to hear his extraordinary skills at the service of a even wider repertoire of songs.

Among the possibilities: more works by the incomparable Alan and Marilyn Bergman; more songs by Leonard Bernstein; and Davi is more than versatile enough, as well, to find some offbeat musical riches in the singer/songwriters of the ’60s and ’70s.

That said, Davi’s performance was another musical night to remember. And when he returns to the Vibrato stage, we’ll be there once again, packing the house, along with his legions of enthusiastic fans.

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Photos by Faith Frenz


Jazz With An Accent: A Conversation with Sammy Figueroa

October 23, 2014

By Fernando Gonzalez

Miami, Florida       

Puerto Rican percussionist Sammy Figueroa is a versatile, resourceful player whose extraordinary career includes performing, recording and touring with a dizzying list of jazz, pop and rock stars and groups, including trumpeter Miles Davis, saxophonist Sonny Rollins (his current employer) and the Brecker Brothers but also David Bowie, David Lee Roth, Ruben Blades, Annie Lennox and Mariah Carey.

Sammy Figueroa 2In 2001, Figueroa quietly settled in South Florida. He organized a band, when in town he played at places such the defunct Van Dyke on Lincoln Rd. in Miami Beach and recorded three albums that garnered him two Grammy nominations. He now also has his own “The Sammy Figueroa Show” every Monday morning on Miami’s WDNA 88.9 FM.  Unassuming and with a puckish sense of humor, Figueroa is also an irrepressible storyteller. He doesn’t just answer questions, once he gets on a roll he playacts entire scenes, bringing to life characters and situations with the timing of a comedian.

Here is a (very) abridged version of a conversation at his Miami Beach place in which he discusses his beginnings in music as a salsa singer, Miles, Dali and his elephant and his latest project, Talisman, a set of original music recorded in Sao Paulo, Brazil with Brazilian singer Glaucia Nasser and a terrific band featuring guitarist Chico Pinheiro, pianist Bianca Gismonti and young pandeiro phenom Bernando Aguiar.

Fernando Gonzalez: You have spoken about first hearing jazz when you were 15. What were the circumstances?

Sammy Figueroa: Very simple: I lived an isolated life, I didn’t go out, I didn’t play with other kids, I had a big afro, was very skinny and they used to kick my ass at school. So I stayed home — and discovered jazz. The first record was Clare Fischer and his big band, and I thought it was amazing. Then I heard Sam Cooke, Herbie Hancock — and then I heard Miles and I thought “Oh yeah, I’m in.”
Any little money I made doing some horrible gig, I’d spend it on records. I was living with my mom, I wasn’t paying rent. So I locked myself in the room and listen to this stuff until three in the morning. My mother would bang on the door for me to go to bed. After listening to Clare Fischer, Herbie, Chick, all those guys, when The Beatles came out with “I Want To Hold Your Hand” it wasn’t that impressive.

FG: You were playing percussion at the time?

No, I wasn’t playing at all. I was singing with a quartet. I was doing gigs as a singer in hotels. And then Bobby Valentin, the great salsa bass player, heard me and said “ You sing pretty good. Do you ever sing salsa?’ “Nah, Not really.” “Why don’t you audition for me next week?” So I went home and listened to Joe Cuba and started imitating Cheo Feliciano and went back to Bobby and told him “ OK, I got it.” So he auditioned me. So the band starts playing, I start improvising and he goes “Damn, you are really good!” “Really?” So I joined the band and for five years I was the lead singer for Bobby Valentin. I didn’t play percussion, I was a salsa singer.
The congas came later. While I was with Bobby, Fania [the Motown of salsa] offered me a contract — and my mother went completely crazy. She said “What!? You are not going to do what your father did and blah, blah, blah.” My father was a singer and had died an alcoholic. And I’m glad she did stop me because then I turned to percussion. Nobody would teach me so I started practicing with a broken conga that my neighbor had. I had to learn by myself, invent my own exercises. But I did a little gig with Perico Ortiz, the great trumpeter and arranger, and … I became Perico’s percussionist for four years. He got me into the instrumental thing.

FG: You’ve worked with so many people, pick three artists you liked to work with the most.

On the road I loved working with the Brecker Brothers. I liked working with Miles. It was so much fun. It was so unpredictable. He was out of his mind — but that was what made it interesting to me, and we became very close friends. And, of course, I love Sonny Rollins. He’s unpredictable. I should also mention David Bowie and [Brazilian pianist]Tania Maria. Tania took me places that never, in my wildest dreams I thought I would go.

FG: Can you share a story with Miles Davis?

We could spend days on Miles — he lived in my apartment for almost a year and also almost burned it down cooking, but let me just tell you how we met.
I didn’t know Miles. I only knew him by his records. By the time I joined Miles [in 1980] I was a household name in New York. I had already done 50-something records and I was a well-known studio guy.
So I was in my little apartment in New York, with my then wife, I was already in bed, I had came back from a session late and my phone rings at about 2:15 in the morning. I pick it up and I hear (imitating Miles’s rasp) “Hey man, what’s happenin’ motherf#@^&*” and I go “Click” and hang up. Who calls at that time? I thought he was [trumpeter] Lew Soloff my closest friend. He would be the one to do a stupid thing like that. Then the phone rings again. “Thank you for hanging up mother%$#” and I go “Who is this?!” “It’s Miles Davis” And I say , “Oh yeah, sure, Miles Davis,” and hung up. And then the phone rings again and I hear this other voice [formal] “Is this Sammy Figueroa? This is [Miles’ producer] Teo Macero.” Now my eyes are wide open … “You just hang up on Miles — twice. I’ll take care of him. But if you want the gig get your ass over here. Now!” … So I took a cab to the old Columbia Records studios and I walked in and saw this really black guy, I mean blacker than coal. He’s seating in a chair just looking at me, and I say “Miles, I’m so sorry I didn’t know” and without saying a word, he got up and punched me in the stomach! He punched me so hard that I fell on the floor. I couldn’t breathe. And I’m thinking “I got up at 2:30 in the morning to get punched in the stomach??” So I just reacted and I hit him. I hit him so hard he fell over the piano and I broke his lip. I saw this little thing falling, going over the piano like a crow. And Teo comes out the booth: “What the fuck happened here??!!” I’m looking at Miles and apologizing “I’m sorry Miles,” and he looks at the blood from his lip and says “”Damn, that’s a good right hook mother#@^%” And that was that.

FG: And then there is wah wah pedal incident …

Oh yes, the wah wha pedal. He was going ‘wah wah wah’ with the trumpet and I hated it.  Then Miles has to leave the room and I’m looking at the thing, looking and looking, and Marcus [Miller] looks at me and says “Leave it alone Sammy.” But I was sick of it so I pulled it out to unplug it and because it was so old it broke and the springs came out — so I hid it, I threw it awy. So Miles comes back after 20 minutes and asks “Where’s the wah wah pedal?” and immediately looks at me ”Sammy!” “What are you looking at me for?” And he says “Who else would do such a crazy thing like that. These mother f@#% are nice. You are crazy.” And this is all happening in that first night.
He picked the trumpet and started playing. He didn’t sound good. It wasn’t until 5 in the morning that we kept one track where he sounded really good. That was ‘Man With The Horn.’ The rest of the album we did it over the next four days.

FG: Did you eventually establish a good relationship with Miles?

The best . He called me at my house 15, 20 times a day. Teo [Macero, his producer] would say “Hey I took care of him for 30 years, now it’s your turn. Bam.”
He became a dear friend. He lived in my apartment for about a year.

FG: Any one particular moment you recall?

There was this time when Miles was talking on the phone at the house and he goes “Yeah …yeah … yeah … yeah,” and I’m looking at him like “Who is that?” And he looks at me and shrugs so after 20 minute she hangs up. “Who the fuck was that?” He goes “It’s that mother#@^ Salvador Dali. He calls me every day and I don’t know what he’s saying.” And I go “Wait, that was Salvador Dali?.” That was life with Miles.
Miles painted and Salvador loved him and called him every day. Salvador was crazier than Miles. Crazier. A few weeks later we played Barcelona and he came to the show. … He ended up inviting me to his house and I ended up staying there for the day. The following day he had the opening of an exhibit and [his wife] Gala spent the whole time looking for an elephant, calling every zoo, the circus. And I´m seated there watching all this and thinking “These guys are nuts.’”
They did find the elephant, by the way. So for the opening Dali arrived riding the elephant. He made an incredible entrance. He was the king of self-promoters.

FG: You became a bandleader late in your career. What did you take from the different bandleaders you have worked with?

When I moved to Miami, actually [producer, friend and long time collaborator] Rachel Faro, jazz booker Don Wilner and [jazz producer] Ron Weber put a band together for me and I did my very first gig ever as a leader at the Hollywood Jazz Festival.
Rachel Faro: “It was funny because I had to force him to put his congas center stage,” she says.
Sammy Figueroa: It wasn’t fear, I was used to being onstage it’s just that I was so used to be in the background.
As for leading a group, my way out has always been joking around and having fun. I make them laugh, I make them comfortable  they don’t want to go anywhere. But when you deal with difficult guys, I wasn’t really a leader I was too scared, really. A leader is strong and will fire you in a minute. Like Miles. I didn’t have that.

FG: How did you approach your work in Talisman? This is not a straight up Brazilian record. The grooves are Brazilian, obviously, but one can also hear Puerto Rican bomba, Afro-Uruguayan candombe, mambo rhythms even African grooves. What was the plan?

What I played in Talisman is part Brazilian and part Latin because I didn’t want to interfere with what they guys were doing . We had with us [pandeiro player] Bernardo Aguiar and he’s wonderful. So I wanted the guys to play the authentic stuff and I’d play bomba and plena or a really fast mambos for example — and it worked perfectly. If I had played Brazilian conga, which now I know how to play, it would’ve been too Brazilian. Then it wouldn’t have anything to do with what I wanted to do which was to bring the two approaches together. When you are mixing different styles you have to know where and when to put them. Is like a chef. If you put too much condiment you overpower the natural flavor of the food. You need to put the right amount and keep it simple.

EPK Sammy Figueroa and Glaucia Nasser

 


Live Brazilian Music: Teka at Vibrato Grill Jazz…etc.

October 22, 2014

By James M. DeFrances

Bel Air, CA. Teka Penteriche’s performance at Vibrato last Sunday night had the approval of everyone in the crowd, including veteran crooner Tom Jones.

Teka

Teka

The smooth sounds of the Brazilian born singer-guitarist and her New Bossa Band filled the air of Herb Alpert’s cozy and elegantly appointed club in Bel Air. Her song choices too were apparently just what the doctor ordered for the late night weekend patrons in West LA.  Over a glass of white wine and a bowl of the club’s extraordinary Cream of Mushroom soup I too was able to experience first hand what everyone had told me about,

Teka is sensational. Her set list offered a wide variety of Brazilian jazz with songs sung in both Portuguese and English. Teka’s arrangements and adaptations are uniquely her own and her voice and the band synced up the way every band hopes for. Highlights of the evening included her renditions of Antonio Carlos Jobim’s classics — including a beautifully done version of “Aguas de Marco” and the song that the audience seemed to appreciate the most “Summer Samba” the crowning achievement of Brazilian composer Marcos Valle.

Teka and her New Bossa Band

Teka and her New Bossa Band

She was backed superbly by her New Bossa band – saxophonist/flutist Doug Webb, pianist Tom Zink, bassist Randy Tico and percussionist Kevin Winard.

Teka and her husband Paris had to make quite the trip down from Santa Barbara but it was a trip well taken as the audience was ready for more, even at the conclusion of her second and final set. Many audience members purchased a CD from Teka’s collection of albums as they left the club – a solid indication that her performance was a hit!

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Photos by James M. DeFrances.


Book Review: “Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard On You?” A Memoir By George Clinton With Ben Greenman

October 21, 2014

By Devon Wendell

Finally the official autobiography of funk music’s most innovative architect is here.

There have been many books on George Clinton and the P-Funk legacy; many including interview excerpts but this is the first time we get the pure “uncut” details of Dr. Funkenstein’s life. Clinton has teamed up with best-selling Brooklyn fiction and nonfiction writer Ben Greenman (The Slippage and Meta Blues (co-written by Questlove) to help present a candid, personal look inside Clinton’s life, which has spanned more than half a century in the music business.

This book has Clinton cover his entire life. Clinton was born literally in an outhouse in North Carolina. He then became a popular hairstylist in Plainfield, New Jersey where he formed his barber shop quartet in the early ‘50s. After being inspired by Frankie Lymon And The Teenagers, he formed The Parliaments which started off as a doo-wop group that sang on street corners. After Motown came on the scene; Clinton’s sound became slicker as he and The Parliaments tried to get signed to Motown’s label.

After a brief stint writing for various Detroit labels and recording many popular sides with The Parliaments, including the mega-hit “Testify” on Revilot, Clinton and the other members of the group couldn’t keep their suits clean like The Temptations or their sound. George also began absorbing the influence of ‘60s psychedelic rock and absorbing plenty of LSD as The Parliaments morphed into Funkadelic.

From then on there was no stopping Clinton. Funkadelic fused the influences of Jimi Hendrix, Cream, and Sly And The Family Stone. Funkadelic became one of the wildest, most outrageous, and subsequently one of the first post-Hendrix black-rock groups of the time. Clinton had lost the rights to the name The Parliaments at the time and Funkadelic became his main focus.

Funkadelic was mainly an underground force to be reckoned with during early ‘70s. Mainstream success had eluded Clinton until he had gotten the rights back to the name The Parliaments and signed with Neil Bogart’s label Casablanca in 1974. George simply changed the name to Parliament. With the major contributions of Bootsy Collins, Bernie Worrell, Garry Shider, and every artist in George’s funky collective, both Parliament and Funkadelic took the ‘70s and by storm, changing black music forever. Clinton was the first artist to present funk as both an attitude and a way of life which is clear in every chapter of this book.

George Clinton

George Clinton

From tales of the mothership landing onstage in front of thousands of P-Funk fans in the late ‘70s, to gruesome stories of drug abuse, crooks, and lawsuits, readers of this memoir get an inside look as to how this conceptual genius thinks and continues to move forward in an ever changing music industry. The odds were always stacked against Clinton and his ever-growing group of vagabond musicians but he has never stopped looking to the future and has never given up hope. Like Miles Davis; Clinton has never been one to get stuck in or by nostalgia.

A seemingly countless number of hip-hop artists have sampled P-Funk’s music beginning in the 1980s to the present. But, instead of dismissing the art form, George has encouraged the hip-hop community and even has incorporated his own “Rhythm and Rhymes” into the genre. Clinton also collaborated with Dr. Dre, Snoop Dog, Ice Cube, Chuck D and Flavor Flav of Public Enemy and many other hip-hop innovators. And he has produced and collaborated with such alternative rock bands as The Red Hot Chili Peppers And Primal Scream during the ‘90s who were heavily influenced by Funkadelic’s guitar driven funk.

Fans will be overjoyed by Clinton’s details, never heard before, of Parliament/Funkadelic recording sessions and tours. Clinton’s humorous wit, intelligence, and unique philosophies make this one of the most entertaining autobiographies or “memoirs” to surface in many years.


On Opera: Director Barrie Kosky in Conversation with LA Opera’s Christopher Koelsch

October 19, 2014

 By Jane Rosenberg

Ebullient, outspoken, and intelligent, Barrie Kosky, artistic director of the Komische Oper Berlin, and stage director of LA Opera’s upcoming production of the double bill Dido and Aeneas/Bluebeard’s Castle presented his concept of this unusual opera pairing during a conversation with opera president, Christopher Koelsch at the Dorothy Chandler Pavilion on Thursday. (This is the first in a series of live streaming conversations on the LA Opera’s website – a welcome addition to the Opera’s continuing efforts to offer insights into their productions as they do with their regular pre-performance talks).

Barrie Kosky

Barrie Kosky

If you were lucky enough to see the LA Opera’s production of The Magic Flute in November of last year, then you may know that Kosky, along with his collaborators Suzanne Andrade and Paul Barritt, were the team responsible for this clever and visually arresting re-imagining of The Magic Flute. If Kosky brings the same level of ingenuity to Dido and Aeneas/Bluebeard’s Castle then the audience is in for a remarkable evening.

Conductor Constantinos Carydis conceived of the unconventional pairing of the two operas and though Kosky acknowledged that the operas, written more than two hundred years apart, are from two entirely different sound worlds, there are narrative parallels and psychological truths common to them both. Both deal with obsessive love, loneliness, loss, and on a spiritual and intellectual level: the theme of arrival and departure. Aeneas arrives in Carthage, gains Dido’s love, only to leave again, unknowingly destroying the woman he loves and the empire she rules. Judith arrives at Bluebeard’s Castle, only to find herself trapped in a nightmare world of secrets and unable to leave.

Favoring Minimalist stagings to allow the emotional power of the music and the performances to provide maximum heft, Kosky, in one of his many moments of humor, called himself an “Opulent Minimalist.” Certainly, his production of The Magic Flute gave the audience a very crowded visual field, however, the structures supporting the video projections were simple. For him, and certainly visual artists would agree, Minimalism entails distilling things to their essence.

The essence of Bluebeard, in Kosky’s staging, is not about the architecture of the doors and walls in Bluebeard’s castle; but about the primacy of the performer and the human voice. In the narrative, Judith’s curiosity compels her to open door after door, looking for a way to let light into the enchanted, dark world of the castle. In this new production, set on a slowly revolving white circle, the doors and walls are replaced by bodies harboring those secrets, in a very clever and compelling piece of staging. Emotions are raw and exposed – a veritable Who’s Afraid of Virginia Woolf in Hungarian – as Kosky explained to his amused audience.

Robert Hayward as Bluebeard and Claudia Mahnke as Judith in a scene from "Bluebeard's Castle," presented in 2010 at the Frankfurt Opera

Robert Hayward as Bluebeard and Claudia Mahnke as Judith in a scene from “Bluebeard’s Castle,” presented in 2010 at the Frankfurt Opera

For Dido and Aeneas, fragility seems to be the essence of the unfolding tragedy for Kosky: the fragility of Purcell’s score, the fragility of life, and the condition that Dido finds herself in – trapped between the needs of her court and her love for Aeneas. Kosky jokingly urged everyone to bring a box of tissues to cope with the raw power and emotional catharsis of Dido’s final aria and ensuing death.

It is this raw power that interests the director who asserted that opera as an art form should take the audience out of its emotional comfort zone. Opera “fundamentalists,” as he called those who insist on productions that hark back to their originals, miss the point. Opera isn’t a fixed form, with only one viable approach, but rather, like all theatre, an interpretive art form always open to investigation.

As for his working methods, he said: it all starts with choosing the right piece of musical theatre, then “riding the surfboard on the wave” of the music. After assembling a first rate cast, anything becomes possible, because he trusts great performers to draw out character and present human truths. A director, with a musical education, Kosky first plays through the score on the piano to digest the music, then listens to as many CDs as he can. Ideas emerge from the process. The rehearsal period is a long one as he and the conductor grapple with how sound should convey the meaning of the words of the libretto. One of the joys of his profession, he said, is directing the chorus. Rather than leaving them as a static entity, he prefers to move them into the action to create a deeper level of performance.

And how do you see the future of opera? Christopher Koelsch asked Kosky in conclusion. The director felt that every hurdle faced by an opera house was unique to each house and its city. But the fundamental issue was accessibility. It’s all about the ticket prices, he explained. Because opera is subsidized in Germany, the lowest ticket price at the Komische Oper is eight Euros. Subsidies allow Kosky to reach a broad audience and at the same time maximize the productions with full orchestra, full chorus, and top performers. In his view, opera is here to stay. It is the only theatrical form that links us to the ancient Greeks – to Euripides, Aeschylus, and Sophocles; and because of that, we are linked to something primal… and one hopes, eternal.

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Photos courtesy of LA Opera.


Live Music: Dee Dee Bridgewater at Catalina Bar & Grill

October 18, 2014

By Don Heckman

Dee Dee Bridgewater

Dee Dee Bridgewater

I love Dee Dee Bridgewater. I don’t hesitate to say that in public because I know my wife loves her as much as I do. And we both love her even more after experiencing the remarkable performance she gave at Catalina Bar & Grill last night.

To say that what Dee Dee and her impressive quintet offered in their ten song program was dynamic is like describing an atomic bomb as just an explosion. She and her players – trumpeter and leader Theo Croker, alto saxophonist Irwin Hall, keyboardist Michael King, bassist Eric “E-Dub” Wheeler and drummer Kassa Overall – fit together like the workings of a fine Swiss watch. And they did so with a combination of sizzling spontaneity, hard driving swing and interactive inventiveness.

Eric “Dub” Wheeler, Dee Dee Bridgewater, Theo Croker, Kassa Overall and Irwin Hall

Blessed with a voice that soars effortlessly across octaves with an astonishing range of timbres, Dee Dee transformed each of her songs into a dramatic short story, delivered in a compatible musical setting perfectly illuminating every emotional twist and turn that she brought to her vocal narratives.

Dee Dee Bridgewater and Michael King

Dee Dee Bridgewater and Michael King

The range of selections was extraordinary: from “”Afro-Blue” to “A Foggy Day,” from “Blue Monk” to “Love For Sale.” With occasional in between stops at tunes such as “Save Your Love For Me” and “Living For the City.” But whether the source was Thelonious Monk or the Gershwins, Dee Dee found the heart of the song, in brilliant creative exchanges with her musicians.

I’ve already mentioned interactivity several times in describing this memorable evening, and with good reason. All singers value a strong linkage with their players.

Theo Croker, Dee Dee Bridgewater and Irwin Hall

Theo Croker, Dee Dee Bridgewater and Irwin Hall

But what took place between Dee Dee and her musicians could more accurately be compared to what has taken place in some of the classic instrumental ensembles in jazz history (think those of Miles Davis, John Coltrane and the Modern Jazz Quartet). And, by the way, Dee Dee’s players – Croker, Hall, King, Wheeler and Overall – are not as well known as they should be.

Dee Dee wrapped the night by stepping down into the table area, cruising among the enthusiastic, hand-clapping crowd, singing Abbey Lincoln’s “The Music is the Magic of a Sacred World.” Occasionally bestowing hugs along the way, she concluded her magical music by inviting her listeners into her creative “Sacred World.”

Dee Dee Bridgewater and her players have one

more night to go at Catalina Bar and Grill. Don’t miss her one of a kind musical experiences. And when she asks you to get up and join her song, do it.

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Photos by Faith Frenz.

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Picks of the Week: October 15 – 19 in Los Angeles, New York City and London

October 15, 2014

By Don Heckman

Los Angeles

Dee Dee Bridgewater

Dee Dee Bridgewater

- Oct. 16 – 18. (Thurs. – Sat.) Dee Dee Bridgewater. She’s a Grammy and Tony award winner, an actress, a radio star and a U.N. Ambassador. As if all that wasn’t enough, she’s also a dynamic jazz artist, a singer with a unique style and a creative imagination. She doesn’t make a lot of L.A. Club performances, so don’t miss this one. Catalina Bar & Grill.  (223) 466-2210.

- Oct. 16. (Thurs.) Gregg Arthur. Add Australian singer Arthur to the growing list of male vocal artists finding inspiration in the Sinatra style and the Great American Songbook repertoire. And he does it with authority. Vibrato Grill Jazz…etc.  (310) 474-9400.

Billy Childs

Billy Childs

- Oct. 17. (Fri.) Billy Childs. Map to the Treasure: Reimagining Laura Nyro. Pianist/composer Billy Childs showcases a live performance of his new recording, finding new creative aspects in the music of singer/songwriter Laura Nyro. He’s aided by the vocals of Becca Stevens, Moira Smiley and Lisa Fischer. Segerstrom Center.  (714) 556-2787.

- Oct. 17. (Fri.) The Los Angeles Philharmonic. Prokofiev and Dvorak. In an evening of extraordinary international taent, Basque conductor Juanjo Mena leads the L.A. Phil in performances of the Dvorak Symphony No. 7 and the Prokofiev Piano Concerto No. 3, with Uzbekistani pianist Behzod Abduraimov. Disney Hall. (323) 850-2000.

- Oct. 18. (Sat.) Laura Pausini. Consider it good timing for Italian singer Pausini to make a Southland appearance in the week of Christopher Columbus celebrations. A major Italian star, she should be heard by American listeners, as well. The Greek Theatre. (323) 665-5857.

Jane Monheit

Jane Monheit

- Oct. 19. (Sun.) Jane Monheit.   “Hello Bluebird: Celebrating the Jazz of Judy Garland.”  Monheit applies her rich vocal timbres and and brisk rhythms to a fascinating view of the Garland’s jazz roots.  Saban Theatre. (888) 645-5006.

- Oct. 19. (Sun.) The Buddy Rich Band. It may no longer be led by the charismatic drumming of the late Rich, but his band still retains the character and the spirit of the original. Catalina Bar & Grill. (223) 466-2210.

- Oct. 19. (Sun.) The Los Angeles Chamber Orchestra. Mozart Serenade. Douglas Boyd conducts Mozart’s Serenade in D Major and George Benjamin’s First Light, and cellist Steven Isserlis is the soloist for Haydn’s Cello Concerto No. 2 in D Major. A CAP UCLA event at Royce Hall.  310-825-2101.

 

* * *  L.A.’s HIGHLIGHT OF THE WEEK   * * *

TEKA and her NEW BOSSA QUARTET

Oct. 19. (Sun.)

Vibrato Grill Jazz…etc. (310) 474-9400.

 Brazilian singer/guitarist Teka and her New Bossa Quartet perform music rich with free flying jazz, the irresistible rhythms and melodies of Brazil, and the lyrical pleasures of the Great American Songbook.

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New York City

- Oct. 14 – 18. (Tues. – Sat.) Benny Green Trio. The virtuosic Green is one of the few pianists influenced by Oscar Peterson who does so with convincing improvisational authority. Birdland.  (212) 581-3080.

- Oct. 16 – 19. (Thurs. – Sun.) Cassandra Wilson. A jazz singer who is one of the few uniquely original performers in the field of jazz vocalists. Blessed with a voice rich with warm, expressive timbres, she uses it at the service of a compelling creative imagination. The Blue Note.

London

- Oct. 15 & 16. (Wed. & Thurs.) Al Di Meola plays Beatles and More. Always in pursuit of new expressive arenas for his superb guitar playing, Di Meola applies his remarkable skills to the classics of the Beatles songbook. And more. Ronnie Scott’s.  +44 20 7439 0747.


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