Live Jazz: The Ron Carter Trio at Catalina Bar & Grill.

July 26, 2014

By Don Heckman

There was good news for jazz Friday night at Catalina Bar & Grill.

Good news because the Sunset Blvd. Jazz club – L.A.’s principal destination for world class jazz groups – was packed.

Good news because the enthusiastic crowd seemed captivated by the music.

And, best of all, good news because the headlining act – the Ron Carter Trio – played a set that was a virtual definition of jazz at its finest.

The Ron Carter Trio: Donald Vega, Ron Carter and Russell Malone

The Ron Carter Trio: Donald Vega, Ron Carter and Russell Malone

The Trio’s instrumentation – Carter playing bass, Donald Vega playing piano, and Russell Malone playing guitar – was a stunning example of jazz minimalism: no drummer, no horns. And they handled it brilliantly.

Ron Carter

Ron Carter

The atmosphere on stage was a blend of jam session spontaneity with the subtle but complex interplay of a classical chamber ensemble. Collective passages seemed both organized and off the cuff. Solo passages flowed imaginatively through open spaces in the ensemble, allowing each player to reach into his deepest well of creativity.

Carter made a few soft-voiced comments between selections. But, for the most part, the music unfolded with a natural connectivity, regardless of the specific selection.

Malone was featured on “Candlelight,” a dedication to guitarist Jim Hall. Vega soloed on “My Funny Valentine.” And Carter chose “You Are My Sunshine,” a classic country tune he also selected as an unlikely solo vehicle a couple of years ago in a performance at Royce Hall.

A veteran player who was highly visible for years as a close musical companion to Diana Krall, Malone brought his far-ranging versatile eclecticism to his solo passages. Blending fast-fingered virtuosity with appealing lyricism, his soloing recalled, and honored, similar qualities in Hall’s memorable playing.

Vega, a jazz prodigy as a teen-ager, now a mature artist, found new ideas in the often-played “My Funny Valentine.” Approaching the classic standard from a new perspective, he often lured Carter and Malone into collective passages, instantly providing contrast and support for his stunning solo lines.

And Carter, the most recorded bassist in jazz history, once again had fun with “You Are My Sunshine.” Approaching his instrument with the pizzicato accents of a cello, he roved freely across the familiar melody. Digging into its roots, lining up the theme in his own unique fashion, his playing occasionally recalled a classic version of the tune recorded by Sheila Jordan and George Russell. But by the time he had melded his soloing back into the Trio collectivity, he had completely made it his own.

No wonder the audience was so reluctant to allow the Carter Trio to leave the stage. The opportunity to hear a performance as stunningly imaginative as his Trio had offered was a rare experience indeed. And this listener, no doubt like the rest of the applauding crowd, looks forward to the music Ron Carter will bring to his next, too-rare appearance in the Southland.

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Photos by Faith Frenz.

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

July 26, 2014

By Don Heckman

Robert Davi was back at Herb Alpert’s Vibrato Grill Jazz…etc. Thursday night. And that was great news for fans of the Great American Songbook – as well as fans of Great American pop singing, which Davi does brilliantly.

A highly visible actor, Davi is one of the most memorable tough guys since the era of Humphrey Bogart. In his first film, Contract On Cherry Street, he shared the spotlight with Frank Sinatra, a forecast of a connection that would unfold in his music career. He was also seen as the villain Franz Sanchez in the James Bond film, License To Kill. Add to that his presence in the TV series, Profiler and dozens of other pictures, ranging from Diehard, Showgirls and The Goonies to the more recent films The Iceman and The Expendables 3.

Robert Davi

Robert Davi

Musically, he’s one of the most authentic successors to the Sinatra style. His recent album, Davi Sings Sinatra: On the Road to Romance, hit #6 in Billboard‘s Top 10 Jazz Chart.

But his achievements as an actor and a singer – despite their stylistic orientation – cannot be described as type-casting. Whatever assignment Davi takes on, in both arenas, he makes his own. And his Thursday night performance at Vibrato was a definitive example of how he has transformed his affection for the Sinatra style into a uniquely engaging musical expressiveness. And he has done so while including a substantial number of Sinatra related songs in his catalog.

Singing to a packed house at Vibrato, Davi was backed by the stellar ensemble of pianist/music director Randy Waldman, vibist Emil Richards, guitarist Mitch Holder, saxophonist/flutist Gene “Cip” Cipriano and drummer Dave Tull.

Robert Davi and his band at Vibrato

Robert Davi and his band at Vibrato

As in any Davi performance, the first aspect one noticed was the rich, warm intensity of his voice. Trained operatically, blessed with a superb natural instrument, he used his remarkable vocal assets at the service of his equally impressive interpretive skills.

The program sparkled with Sinatra-related tunes, among them the opening “I’ve Got The World On A String,” as well as “Fly Me To The Moon,” “Luck Be A Lady,” “Tender Trap,” “Come Rain Or Come Shine,” “The Best Is Yet To Come” and a lot more. Davi sang most of them while roving among the tables with a wireless microphone, delighting his enthusiastic listeners by delivering his songs with up close musical intimacy.

There were other intriguing moments in the program, as well. Shifting into his humorous mode, Davi – who recently returned from working on a film in Moscow – described meeting the “Russian Sinatra.” Imitating what he heard, Davi sang “The One I Love Belongs To Somebody Else” with his version of a Russian accent.

Robert Davi

Robert Davi

In a very different mode, he offered a dedication to Maya Angelou before singing “Old Man River,” with the full range of his remarkable voice, then following it with “River Stay Away From My Door.” Interestingly both songs were performed by both Sinatra and Paul Robeson.

Add to that the rarely heard Cy Coleman/Michael Stewart song (which was also performed by Sinatra) “I Love My Wife.” In addition, Davi included a touching version of “Send In the Clowns,” yet another example of his expanding catalog of songs.

There was one more aspect to this extraordinary evening which was, in addition to its entertainment, a benefit for the organization “America’s Mighty Warriors.” Davi has long been a supporter of the men and women in America’s armed forces. And, midway through the performance actor Jon Voigt introduced Debbie Lee, founder of the organization, whose son, Marc Allen Lee, was killed in action in Iraq while defending his companions.

To Find Out More about “America’s Mighty Warriors” click HERE.

Appropriately, Davi also sang “The House I Live In,” from the short 1946 film of the same name (which featured Sinatra) opposing anti-semitism and racial prejudice.

In sum, the Thursday night performance at Vibrato was memorable in many ways. And Robert Davi deserves full credit for bringing all its elements together. More than a singer and an actor, he is an artist with his own growing, creative vision.

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Photos by Faith Frenz.

A Twist of Doc: “Everything Is On The One”

July 25, 2014

By Devon “Doc” Wendell

Lately I’ve been harkening back to a time in my hazy youth in which rock n’ roll seemed too square and being a jazz musician felt unattainable. I was a frustrated self-taught blues guitar player in his teens in search of something else.

As much as I worshipped the blues, by the time I was 13 the image, true attitude, sound, and feel of greats like Muddy Waters, Howlin’ Wolf, and Son House had all but vanished.

There were still many blues legends with a lot to offer but for the most part blues had morphed almost completely into blues-rock. Stevie Ray Vaughan was the leader of the pack and he had thousands of clones. Vaughan passed away in 1990 but today it’s still the same. Blues clubs and radio stations are still flooded by men and women who all dress like a discount combo of Jimi Hendrix and Stevie Ray Vaughan on layaway. And they all fall back on the same overindulgent stock blues licks.

Devon "Doc" Wendell

Devon “Doc” Wendell

I saw the writing on the wall back at the age of 13. Once again the rock establishment was co-opting the blues for a white audience, as had been done in the ‘60s and I didn’t approve or want to go along.

I had always been a geeky wallflower who had sat on the floor at school dances or avoided them altogether. I wasn’t going to ditch the blues or give up trying to play jazz, but I was in search of a more primal sound that could get to the core of all contemporary musical genres and didn’t take it self too seriously. I found what I was looking for in funk.

The very first bassist I played with in high school turned me onto George Clinton and Parliament/Funkadelic. I was already deeply into the funk of Sly And The Family Stone and James Brown so this was the logical next step.

My first reaction was laughter. Hearing Parliament’s “The Mothership Connection” felt like the first time I had ever been truly stoned. Granted I probably was very stoned at the time. It was musically sophisticated with slick, jazz-inspired horn arrangements by Maceo Parker and Fred Wesley (formerly of James Brown’s band), thumping baselines by ex-James brown protégé Bootsy Collins, and classically infused psychedelic keyboard work by Bernie Worrell. The most shocking element was George Clinton or “Dr. Funkenstein” rapping (more than a decade before rap music was around) over the music using street slang and profanity in an over the top, super silly fashion.

There was also the meteoric guitar work of P-Funk guitarists Eddie Hazel, Garry Shider, Mike Hampton, and Dewayne “Blackbyrd” Mcknight which cemented George Clinton’s concept of “organized chaos” and is still a huge influence on my playing today.

I also bought and taught myself electric bass after hearing the albums Ahh The Name Is Bootsy Baby, and Larry Graham’s slapping on Graham Central Station’s “The Jam.”

James Brown

James Brown

When it came to listening to funk music – whether it was James Brown, Sly Stone, or P-Funk — I felt I had to sneak off somewhere to do it, like I did with comedy albums by Richard Pryor and Redd Foxx. It wasn’t just the language; it was the attitude which made rock music seem like the squarest music in the galaxy. There was this delightful nastiness mixed with a true freedom to all of it and I started collecting funk records by the stack full. From James Brown, Sly Stone, all incarnations of P-Funk and Bootsy Collins, to The Ohio Players, Con Funk Shun, Brick, and Earth, Wind And Fire, I had to have it all. Suddenly I wasn’t too shy too dance and I was out there at funk concerts and parties shaking my ass and making a fool out of myself but not giving a shit. That’s freedom. That’s funk.

Of course my steady diet of marijuana and psychedelic drugs helped aid this drastic change and allowed me to see all things as being sublimely funky. My guitar playing became funkier and more focused on that “one” beat that is the spiritual core of funk music. James Brown emphasized the “one” and P-Funk took it to new and wonderfully ridiculous heights. The “one” is where all musicians meet up and are in sync with the universe.

Sly Stone

Sly Stone

Although funk remains as spiritually relevant with young music lovers and musicians today in a way similar to reggae, the music’s greatest pioneers and practitioners have constantly been dismissed as novelty acts by the mainly white controlled music industry and what’s left of it. Times have been hard for Sly Stone and George Clinton over the past few decades.

I’ve never truly understood why. Sly Stone was as talented, inventive, and revolutionary as all four Beatles combined. Sly not only influenced hundreds of funk and rock bands, he also changed the shape of jazz forever. Herbie Hancock’s Headhunters would not exist without Sly. Miles Davis worshiped Sly and his music was forever changed by Sly’s influence.

Why is it that Sly Stone lives in a mobile home today? Why is George Clinton having to fight for the rights to his own music but still sells out concerts all over the world? The white rock bands of the ‘70s did as much drugs (if not more) as any of the funk legends and they’re still able to get record deals. The rock machine can stay behind and support the nostalgia of Crosby, Still, Nash, and Young, or even The Rolling Stones no matter what trouble these artists have gotten into over the years or the dips in their record sales.

I can’t help but think that if these artists were black, they’d know how it feels to be relegated to novelty act status by main stream media and have to fight to keep what they created. Keith Richards can dress and act as crazy as he wants and there aren’t the same consequences as there have been with Sly Stone or George Clinton. It doesn’t make any sense.

With all that said and as overtly un-funky as the music business has always been, there are the fans. Since my introduction to funk back in my teens, I’ve learned that there are no fans like funk fans or “funkateers.” The love is felt all over the world by people of all ages. We ex-“Psychedelic wallflowers” keep the music fresh. Not to mention the millions of hip-hop and rap artists who have sampled funk records since day one and continue to do so.



Tuesday, July 22nd was the 73rd Birthday of George Clinton. I was lucky enough to work with Dr. Funkenstein in the studio over 23 years ago and we spoke many times during the ’90’s at airports or backstage as he and The P-Funk All- Stars toured constantly going “all around the world for the funk.” They’re still out there touring right now. So, today I thank you, Dr. Funkenstein, for freeing my mind and ass collectively and a very funktacular Happy Birthday. Never quit. Keep on funkin’, we need it now more than ever. I also thank all current and past members of P-Funk, Bootsy Collins, Bernie Worrell, Junie Morrison , and Sly And The Family Stone, Larry Graham, James Brown, and the list goes on.

The record industry may be dying out, old, corny, and not able to dance, but thanks to you, Dr. Funkenstein, everything is still on the one.

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To read more posts, reviews and columns by Devon Wendell click HERE.


Live Music: Gilberto Santa Rosa and Sheila E. in an Americas & Americans Performance at the Hollywood Bowl

July 24, 2014

By Don Heckman

The L.A. Phil’s entertaining Americas & Americans series came up with a stellar musical double-header Wednesday night at the Hollywood Bowl. Which was not surprising, given the headlining onstage presence of Sheila E. and Gilberto Santa Rosa. Both of whom are major figures in the Latin music world – and beyond.

Sheila E.

Sheila E.

It’s no mystery that Sheila E., the highly visible offspring of the talented Escovedo family, is a startlingly gifted percussionist, and she displayed her drumming skills throughout her program in various areas of the stage, opening her segment with a set that began in high velocity and continued to build until its final climactic ending.

She’s also a gifted vocalist, dancer and extraordinarily talented entertainer. Add to that her ability to create a show reaching across the full gamut of the contemporary music world.

Her program unfolded in a series of escalating segments, spotlighting her far-ranging musical gifts in the company of a similarly talented group of musicians and dancers. Surrounding her with break-dancing, hip-hop and rap, crisply rhythmic back-up vocals and a rich mosaic of sound and emotion, her players and dancers provided the perfect setting for her eclectic creativity.

Call it a remarkable performance, one which continually elicited enthusiastic responses from a crowd that seemed to adore every move and every sound she made.

Puerto Rican singer Santa Rosa was greeted by an equally delighted audience esponse. And understandably so, for a performer who has been awarded five Grammys, had 14 number 1 hits on Billboard’s Tropical Airplay chart, and released numerous gold and platinum albums.

Gilberto Santa Rosa

Gilberto Santa Rosa

Like Sheila E., Santa Rosa delivered a non-stop performance surrounded by a cadre of performers who combined to produce a musical and visual extravaganza. Remaining largely in center stage, occasionally strolling – with a dance step or two – from one side to the other, he frequently acknowledged the contributions of his hot-stepping back-up singers and high flying horn players.

Given the hits he’s delivered in his more than three decade career, Santa Rosa, sometimes called “El Caballero de la Salsa,” had plenty of familiar items to sustain his lengthy set. Understandably, most were supported by fiery salsa rhythms, dynamically delivered by his 12 piece ensemble.

At 51, Santa Rosa’s voice is still an appealing instrument, and his warm vocals soared lyrically through his numerous salsa hits, with an occasional pause to offer a romantic bolero.

Americas & Americans?” Yes, indeed. Santa Rosa and Sheila E. offered all that and a lot more.

The only problematic aspects of this extraordinary pair of performances traced to the decibel level of the sound system. Both Santa Rosa and Sheila E. are brilliant performing artists. And each is capable of delighting an audience without having the sounds of their singing amplified to the edge of pain.

That complaint aside, kudos to the L.A. Phil for presenting an appealing entry in the Americas & Americans series. Another follows on Friday and Saturday in the appearance of singer Gloria Estefan and YOLA (Youth Orchestra LA).

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Sheila E. photo by Bonnie Perkinson.

Live Music: Gustavo Dudamel Conducts the Los Angeles Philharmonic at the Hollywood Bowl in an evening of Beethoven.

July 23, 2014

By Don Heckman

It was warm at the Hollywood Bowl Tuesday night – warm verging toward hot, one of those Bowl evenings when the temperature, and conversations about the temperature, can distract listeners from the music on stage.

Ludwig van Beethoven

Ludwig van Beethoven

But not on this night, a night in which Ludwig van Beethoven, Gustavo Dudamel and the L.A. Philharmonic were so creatively in sync that the magnificent Symphony No. 5 and the lesser known Triple Concerto captivated the entranced audience, wiping away concerns about the simmering temperature.

The Triple Concerto, with violin, cello and piano as its solo instruments, is a work that reflects Beethoven’s apparent – and eminently successful — desire to write a piece that showcases each of the individual instruments, as well as their collective qualities as a piano trio.

Performed by violinist Renaud Capucon, cellist Gautier and pianist Jean-Yves Thibaudet, the rarely heard work came vividly to life. And by the time the ensemble dug into the buoyant, polonaise qualities of the final movement, the stage had been set for the climactic work of the night.

Beethoven’s Symphony No. 5, arguably one of the world’s most frequently heard classical works, never loses its appeal – either for eager listeners, or for conductors equally desirous of displaying their skills upon such a vital composition.

In this memorable performance, that appeal was ever present for an audience mesmerized by the gripping qualities of the Symphony’s unfolding themes. Their responses, climaxed by the waves of applause and shouts of “Bravo!” sweeping across the Bowl after the final notes were sounded, recalled the commentary by Beethoven’s contemporary, E.T.A. Hoffman after the first performance of No. 5 in 1808.

“This wonderful composition, in a climax that climbs on and on,” wrote Hoffman, “leads the listener imperiously forward into the spirit world of the infinite!”

Gustavo Dudamel

It’s a thought that was also present in Dudamel’s shaping of the work from the dramatic utterance of the Fifth’s fanfare-like opening four note motif to the rich melodiousness of the final movement. If Dudamel was tempted in anyway to invest his direction of the work with the dramatic qualities that are so essential to his style, he pushed the thought aside. Instead, he allowed Beethoven and the Fifth itself to provide every element of emotional drama the work needed.

And the results were extraordinary. Whether a listener was a newbie to a live performance of the Fifth, or familiar with numerous past versions, Dudamel and the Phil provided a standard that will surely be recalled as one of the vital performances of a definitive classical work.

To say it was a night to remember is surely correct, but even a sweeping generalization of that sort doesn’t give full justice to this remarkable performance. So all praise to Beethoven, Dudamel and the Los Angeles Philharmonic.

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Dudamel photo courtesy of the Los Angeles Philharmonic.

Picks of the Week: July 21 – 27 In Los Angeles, San Francisco, New York City, London, Paris and Tokyo

July 21, 2014

By Don Heckman

It’s another warm Summer week, with many international jazz clubs shuttered in their annual July -August hiatus. But there’s still some fine music to be heard.

Los Angeles

Strunz and Farah

Strunz and Farah

- July 22. (Tues.) Strunz and Farah. The dynamic guitar duo of Costa Rica’s Jorge Strunz and Iran’s Ardeshir Farah, showcase their irresistibly eclectic playing in one of their rare L.A. Appearances. Vibrato Grill Jazz…etc.  (310) 474-9400.

- July 22 & 24. (Tues. & Thurs.) Dudamel & Beethoven. The Los Angeles Philharmonic, under the kinetic conducting of Gustavo Dudmel illuminates a July evening with an all-Beethoven’s program featuring the classic Symphony No. 5 and the fascinating Triple Concerto. The Hollywood Bowl.  (323) 850-2000.

Robert Davi

Robert Davi

- July 24. (Thurs,) Robert Davi. “Davi Sings Sinatra.” Actor/singer Davi’s association with Frank Sinatra dates back to the 1977 film Contract on Cherry St. Since then he has become the most musically convincing of the Sinatra-styled singers, applying his own creative imagination to the “Blue Eyes” style. Vibrato Grill Jazz…etc.  (310) 474-9400.

- July 24. (Thurs.) Noura Mint Seymali. The compelling voice of Mauritanian singer is featured in the opening event in the Skirball Cultural Center’s 18th Free Sunset Concert Series. The Skirball Cultural Center.  (310) 440-4500.

- July 24 – 26. (Thurs. – Sat.) The Ron Carter Trio. Ron Carter may well be the most recorded bassist in jazz history. But he’s also a fine composer and the leader of his own impressive trios. Catalina Bar & Grill.  (223) 466-2210.

Gloria Estefan

Gloria Estefan

- July 25 – 26. (Fri. & Sat.) America & Americans Festival: Gloria Estefan. The L.A. Phil’s celebration of the music of North and South America continues with an appearance by Grammy-nominated vocalist Setefan with the Hollywood Bowl Orchestra conducted by Thomas Wilkins. The Hollywood Bowl.  (323) 850-2000.

- Juy 26 (Sat.) Elliott Deutsch Big Band. Trumpeter/arranger/composer Deutsch leads his briskly swinging ensemble with the skills that have made him the arranger of choice for the likes of Cheryle Bentyne, Bill Watrous and others. Vitello’s.  (213) 620-0908.

- July 26 & 27. (Sat. & Sun.) The Central Ave. Jazz Festival. A spectacular assemblage of world class jazz in L.A.’s most memorable jazz setting. Featured artists include Kamasi Washington and Next Step, Patrice Rushen & Ndugu Chancler, Mongorama, The Gerald Wilson Orchestra, Michael Session, Ernie Andrews, Dr. Bobby Rodriguez and more. Admission is free. The Central Ave. Jazz Festival.

- July 27. (Sun.) Peggy King and Corky Hale. She may be best known as “pretty, perky Peggy King” on the ’50s George Gobel television show. But in her later career, King’s matured into an impressive vocal artist. She performs with the superb accompaniment of pianist Corky Hale, who has been at the keyboard (or the harp) with everyone from Billie Holiday to Frank Sinatra.  Catalina Bar & Grill.  (223) 466-2210.

San Francisco

Tierney Sutton

Tierney Sutton

- July 24 – 27. (Thurs. – Sun.) Tierney Sutton. “Songs of Joni Mitchell.” A gifted vocalist with an emotionally rich style of her own, Sutton is one of the rare singers to have the musicality and the interpretive skills to handle the complex Mitchell catalof of songs. Click HERE to read an earlier iRoM review of Sutton singing Mitchell. An SFJAZZ event at Joe Henderson Lab. (866) 920-5299.

New York City

- July 22 – 26. (Tues. – Sat.) John Pizzarelli and the Swing Seven. Singer/guitarist Pizzarelli is in his most appealing medium when he’s digging into the pleasures of Swing, backed by an equally swinging bunch of players – as he is here. Birdland.  (212) 581-3080.


Randy Brecker

Randy Brecker

- July 22 – 24. (Tues. – Thurs.) The Brecker Bros. Reunion Band. Trumpeter Randy Brecker and saxophonist Michael Brecker were one of the gifted brother acts in modern jazz. Since the death of Michael in 2007, Randy has kept the memories of the Brecker Bros. Band alive and well. He’s joined by his wife, Ada Rovatti, in the band’s saxophone chair. Ronnie Scott’s. +44 (0)20 7439 0747.


- July 24. (Thurs.) The Mike Stern & Bill Evans Band. Expect some blues grooves and fusion fireworks when Stern and Evans get together with drummer Dennis Chambers and bassist Tom Kennedy. New Morning Paris.  +33 1 45 23 51 41.


- July 25 – 27. (Fri. – Sun.) Jose James. In his own unique way, vocalist James is searching for, and often finding, a blend between jazz, soul and hip-hop. Will it please the fans of each genre? Check him out and see. Blue Note Tokyo.  +81 3-5485-0088.




Live Music: Eliane Elias, Lee Ritenour and Dave Grusin, and Boz Scaggs at the Hollywood Bowl.

July 18, 2014

By Don Heckman

lt usually takes a while before a performer can generate enough dynamic energy to begin to steal the show. But at the Hollywood Bowl Wednesday night, the opening act – Brazilian pianist/singer Eliane Elias – claimed a large chunk of the evening’s creative territory before her relatively brief half hour set was concluded.

That’s not to minimize the effectiveness of the other major musical acts on the bill: the duo of guitarist Lee Ritenour and keyboardist/composer Dave Grusin (and their band); and veteran rock star Boz Scaggs.

Eliane Elias

Eliane Elias

And we’ll get to them. But let’s get back to Eliane.

I first heard her three decades ago at Catalina Bar & Grill. Barely into her twenties, she was not a singing performer at the time. Her emphasis was on her jazz piano work, which was extraordinary. I can still recall a stunning, piano solo rendering of “Body and Soul” that breathed remarkable new creative life into an often overdone standard.

In the intervening years, Eliane added vocals to her arsenal of musical skills, as well as a warmly engaging performance style that invited her listeners into the intimacy of her playing.

As she did at the Bowl on Wednesday.

Backed by the sterling rhythm of guitarist Graham Dechter, bassist Marc Johnson and drummer Rafael Barata, Eliane cruised with masterful ease from the classic bossa nova at her roots to the jazz that has become an equally vital element in her musical artistry. Her singing on Brazilian classics such as “Chega de Saudade” was balanced perfectly by her interpretations of standards from the American songbook – notably “And I Thought About You” from her memorable album tribute to Chet Baker.

And her piano work, driven by irresistible musical spontaneity, charged the enthusiastic audience with excitement, building to a climactic sequence of robust exchanges with drummer Barata.

As I noted above, everything Eliane did, from beginning to end was enough to establish her set as the most singular event, the centerpiece of a high intensity musical evening.

Lee Ritenour and Dave Grusin

Lee Ritenour and Dave Grusin

Ritenour and Grusin sustained much of Eliane’s jazz excitement when they dug into their set, a rapid fire sequence of works. Backed by the potent rhythm section of bassist Abraham Laboriel and drummer Chris Coleman, the two leaders focused most of the music on the fusion, funk and smooth jazz that has enlivened much of Ritenour’s busy career. And let’s not overlook the melodic appeal of Grusin’s compositions, as well as the spontaneous arrangements that he brought to many of the tunes via his line up of electronic keyboards.

Add to that the always entertaining presence of bassist Laboriel, who danced, hummed and snapped his electric instrument with non-stop verve, enhancing virtually every tune with injections of his unique, high velocity style.

The Ritenour/Grusin set finished with a surprising climax – a rendering of “Happy Birthday” to acknowledgment of Grusin’s recent 80th birthday, which took place on June 26. Appropriately, Grusin was the principal soloist in the performance, offering a delightfully imaginative set of variations to underscore his own birthday celebration.

Boz Scaggs

The final set of the evening featured the veteran rocker, guitarist and singer/songwriter Boz Scaggs. Although he, too, celebrated a birthday in June (his 70th), there was no repeat offering of “Happy Birthday.”

Scaggs instead laid down a familiar line up of hits from the ’70s and ’80s, some written by Scaggs, some by others, among them: “What Can I Say?” “Miss Sun,” “Lowdown,” “Lido Shuffle.”

The most appealing part of the set reached beyond the tunes, into Scaggs’ sheer pleasure in what he was doing. Playing impressive rock guitar from time to time, he and his band recalled the sheer foot-tapping, body-moving pleasures of ’70s and ’80s rock. And the high point arrived at the close in a joyously spirited duet between Scaggs and his back up singer, Conesha Owens.

Vastly different from what Eliane Elias had offered, Scaggs nonetheless clearly delighted the many who had come to the Bowl to hear him recall the music of their youth.

And for those whose view of jazz is illuminated by funk, fusion and smooth jazz, Ritenour and Grusin also provided plenty of musical highlights.

Finally, recalling the program’s extraordinary opening set, with its authentic blending of jazz and Brazilian music, the only element missing from this eclectic musical evening was an additional half hour of music from Eliane Elias and her players. Maybe next time.



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