Picks of the Week: April 12 – 18

By Don Heckman

Los Angeles

- April 12 & 13. (Mon. & Tues.)  Miles Evans Band.  Trumpeter Evans, named after Miles Davis, is the son of equally legendary arranger Gil Evans.  His current mission, he says, is to explore, with his eight piece band, the music that had been planned for an Evans/Jimi Hendrix collaboration that was cancelled after Hendrix’s premature death.  Catalina Bar & Grill (323) 466-2210.

- April 12 & 13. (Mon. & Tues.)  The Constellations. The Atlanta-based buzz band is making a big push in advance of the release of their debut CD, Southern Gothic. Mon.: Spaceland.  (213) 833-2843 Tues.: Cinespace.  (323) 817-3456.

- April 13. (Tues.) Bill Frisell debuts his new trio, with Jason Moran, piano and Kenny Wollesen, drums.  Largo at the Coronet.  (310) 855-0347.

- April 13. (Tues.)  Steve Huffsteter Quartet.  Trumpeter Huffsteter’s warm sound and articulate phrasing are well matched with the backing of Larry Koonse, guitar,  Putter Smith, bass and Dick Weller, drums.  Charlie O’s. (818) 994-3058.

Susan Egan

- April 14. (Wed.)  Susan Egan.  Local girl Egan was nominated for a Tony Award for her role as Belle in the original Broadway production of “Beauty and the Beast.”  She is equally skilled with her interpretations of classic cabaret numbers and material from the Great American Songbook  Smothers Theatre Pepperdine. (310) 506-4522.

- April 14. (Wed.)  Jennifer Leitham Trio.  Bassist Leitham wings it back to LA for a couple of educational workshops and a performance with her sterling trio — with Josh Nelson on piano and Randy Drake on drums.  Café 322. (626) 836-5414.

- April 15. (Thurs.) Caetano Veloso.  One of the great figures of late 20^th century Brazilian music, Veloso continues, at 67, to be an artist who creates musical magic with every performance.  With luck, the ever-adventurous Veloso may offer a preview of the hip-hop fusion song he’s allegedly been working on with Sean P-Diddy Combs.   The Greek Theatre.   (323)  665-5857.

Willie Nelson

- April 15. (Thurs.) Willie Nelson.  One of the few, still-performing musical artists who can genuinely be referred to as iconic, Nelson’s going strong, surging on the crest of last-year’s much-praised collection of standards, American Classic. Grove of Anaheim. (714) 712-2700.

Leonardo Suarez Paz

- April 16. (Fri.) Leonardo Suarez Paz.  “Romance de Tango.” Tango, in all its rich manifestations – music, dance, poetry and more – is presented by Grammy-nominated violinist Suarez Paz’s gifted company of musicians and dancers.  Beckman Auditorium. CalTech.  Pasadena.   (626) 395-4652.

- April 16. (Fri.)  Arlo Guthrie.  The Guthrie Family rides Again. And they really do – across the generations – starting with Woody Guthrie’s songs and working through the singing and playing of Arlo, his son Abe, daughters Cathy, Annie and Sarah Lee, and various grandkids.  Royce Hall.  UCLA Live. (310) 825-2101.  (Also at the Irvine Barclay Theatre on Sat.  See below)

- April 16 – 18. (Fri. – Sun.)  Oleta Adams.  She puts it all together – jazz, soul, r&b, gospel and pop – into an utterly believable vocal package.  Catalina Bar & Grill. (323) 466-2210.

- April 16, 17 & 20. (Fri., Sat. and Tues.)  The Eagles. Thirty-five years together have generated a ton of Eagles hits, and they’ll no doubt perform most of them.  Adding some spice and diversity to the evening, the opening acts are the Dixie Chicks (on stage for the first time in four years) and country singer/songwriter Keith Urban.   The Hollywood Bowl.   (323) 850-2000.

Baaba Maal

- April 17.  (Sat.)  Baaba Maal.  Senegal’s Maal has been doing a masterful job of creating a musical vision that embraces contemporary elements, of every sort, without losing contact with his rich, traditional roots.  Royce Hall.  UCLA Live. (310) 825-2101.

- April 17. (Sat.)  Arlo Guthrie. The Guthrie Family Rides Again.  Their second Southland date in two days.  (See above at Royce Hall on Friday.)   Irvine Barclay Theatre. (949) 854-4646.

- April 17. (Sat.) Bill Cunliffe Big Band. Pianist/composer Cunliffe leads a 17 piece big band in a performance of Cunliffe originals, as well as his Grammy-winning arrangement of a “West Side Story Medley.”  Vitello’s. (818) 769-0905.

Alessandra Belloni

- April 17. (Sat.)  A Gershwin Celebration. A quartet of engaging, Broadway musical veterans – Raymond Saar, Diane Ketchie, Valeri Perri and Scott Harlan take on the full gamut of the remarkable Gershwin catalog of songs. CSUN Performing Arts Center.   (818) 677-1200

- April 17 & 18. (Sat. & Sun.)  Alessandra Belloni.  The percussionist, dancer and master of traditional Southern Italian music leads a Weekend Drum and Dance Workshop.   Afternoons: “Rhythm is the Cure” with Special Healing Drum Stretch and Dance Workshop.  Evenings: Concert of music and dance.  Remo Performance Center.

- April 18  (Sun.) Los Angeles Jazz Collective “Spring Jazz Fest.” Five ensembles take center stage for the LAJC’s festival: the Brian Carmody Trio, The Ryan Seward/Josh Welchez Group, Sigmund Fudge, the Los Angeles Jazz Quartet and Brian Swartz and the Gnu Sextet.  Vitello’s. (818) 769-0905.

San Francisco

Omar Sosa

- April 16 – 18. (Fri. – Sun.)  Omar Sosa Afreecanos Quintet. Adventurous pianist/composer Sosa’s Afreecanos ensemble also features the vocals and instrumental work of Senegalese musician Mola Sylla, and the envelope-stretching saxophone playing of Peter Apfelbaum.  Yoshi’s Oakland. (510) 238-9200.

- April 17 – 18. (Sat. & Sun.)  Andrae Crouch.  Seven-time Grammy winner Crouch has done it all in the gospel music world – from performer and songwriter to arranger and producer.  Inducted into the Gospel Music Hall of Fame a decade ago, he’s still a marvel to hear.  Yoshi’s San Francisco.  (415) 655-5600.

St. Louis

- April 15 – 17. (Thurs. – Sat.)  Greater St. Louis Jazz Festival.  Lots of big band action at this year’s festival.  Headliners include Gordon Goodwin’s Big Phat Band, Conrad Herwig’s Latin Side All-Stars, UM-St. Louis Jazz Ensemble directed by Jim Widner. Also on the bill, lots of young, upcoming talent from the area’s many jazz education programs.  The Greater St. Louis Jazz Festival at the Touhill Performing Arts Center.  http://www.gsljazzfest.com (866) 516-4949.

New York

Ron Carter

- April 13 – 18. (Tues. – Sun.)  Kenny Werner’s stellar Quintet features the clarion trumpet work of Randy Brecker and the always solid bass of John Patitucci.  The Blue Note. l (212) 475-8592.

- April 13 – 18. (Tues. – Sun.)  Julliard Jazz Quintet.  A high level combination of cross-generational jazz masters: bassist Ron Carter, pianist Benny Green, drummer Carl Allen, saxophonist Ron Blake and trumpeter Eddie Henderson.  Dizzy’s Club Coca-Cola.   (212) 258-9800.

- April 14 – 18. (Wed. – Sun. Dave Grusin. The pianist/composer makes a rare club performance in the company of Nestor Torres, flute, Steve Turre, trombone, Peter Washington, bass, Kenny Washington, drums.  Iridium.   (212) 582-2121.

- April 15 – 18 (Thurs. – Sun.)  Don Byron Groups.  Clarinetist Byron displays his versatility with three different ensembles.  Thurs. and Fri.: the New Gospel Quintet.  Sat.: The Ivey-Divey Trio. Sunday: Swiftboat.  Jazz Standard.   (212) 576-2232.

Magos Herrera

- April 15 & 21. (Thurs. & Fri.)  Magos Herrera. The Mexican singer brings a rich, dark, sound and a stirring rhythmic flow to her music.  She’ll perform tunes from her Grammy nominated album, Distancia.  Thurs 15: Galapagos Art Space.  (718) 222-8500.  Fri. 21: BAMcafe Live.   (718) 636-4100.

- April 17 (Sat.) Rokia Traoré.  Mali’s dynamic singer/songwriter is a musical whirlwind in her live performances.  She’ll be showcasing songs from her new Nonesuch album, Tchamantché.  The Highline Ballroom.  (212) 414-5994.

An Appreciation: Herb Ellis by Larry Koonse

By Larry Koonse

The recent passing of Herb Ellis signals yet another huge loss to an era of musicians who were actively involved in creating that feeling known as “swing.” And nobody could swing harder than Herb could.

After spending his earlier years honing his craft with Jimmy Dorsey he went on to form the Soft Winds trio which included bassist Johnny Frigo (incidentally, the composer of one of my all-time favorite ballads ….. “Detour Ahead”).

But Herb is perhaps best known for his work with the Oscar Peterson trio, which he joined in 1953.  That ensemble, which also included the great bassist Ray Brown, literally redefined the possibilities of a drummerless group. First of all, there simply were no bands at that time that could create such a cohesive and driving rhythmic feel without relying heavily on a percussive instrument. Secondly, there were few guitarists who could match the sheer virtuosity of Oscar Peterson and approach the music with the kind of fearlessness that it required. I can’t imagine what it was like to match wits with the likes of Oscar and Ray in that kind of open context. Herb really upped the ante for all jazz guitarists with that band.

Following his stint with Oscar Peterson, he went on to collaborate for a number of years with the great Ella Fitzgerald and made several solo albums in that time period. One of my personal favorites is titled Nothing but the Blues. This recording, which features Roy Eldridge and Stan Getz, puts Herb up front and center in a pianoless rhythm section in which he again redefines the possibilities of the guitar in yet another context. Herb had that innate ability to make a single line melody tell the whole story and knew just when to punctuate the silence with a well placed chord. You would be hard pressed to find a recording that reflects such a beautiful balance of intellect and soul as this one does.

The first time I heard Herb was on a recording with Joe Pass titled Jazz/Concord that my father played for me when I was thirteen. The tune that really sticks out in my memory is a fast version of “Sweet Georgia Brown” in which Joe and Herb have a heated exchange in trading improvised sections of the tune. The power contained in the unrelenting pulse of those two guitarists was just enormous. That was one of the first moments I began to see the joy that was inherent in being right in the center of the beat and feeling the forward momentum …… ahem ….. I should have just simply said “the joy of swinging”!!!

We are witnessing the passing of a generation of musicians who were responsible for shaping much of what we consider to be the trademarks of this great American art form. Although younger generations bring a freshness in terms of stretching the known melodic/harmonic vocabulary and working with multiple meters there is just no replacing the great artists who were there at the inception. Herb Ellis was one of those giants – one who will be remembered and treasured for a long time.

To read more Appreciations click here.

Live Pop Music: Terry Reid at McCabe’s Guitar Shop

By Mike Finkelstein

On Friday night veteran rock singer and guitarist Terry Reid performed a very relaxed and intimate solo set of his songs at McCabe’s Guitar shop.    Throughout the performance he wove together a tapestry of friendly audience banter and stories of his past with his music.   One really could not have asked for more of a living room vibe than was present in this entertaining evening.

Having been on the rock circuit for nearly 40 years, Reid declined offers to be the lead singer of both Led Zeppelin (at the time the New Yardbirds) and Deep Purple.   And he had a few marvelous stories to tell, in his heavy English accent.  He also seemed to realize that he could tell those stories all night long, but was determined not to let them get excessive, recalling that he’d once seen Ramblin’ Jack Elliot perhaps earn his own moniker by telling more stories than he played songs.

Reid walked on stage clad in white khaki slacks, white tennis shoes, a black sport jacket, a lime green tie and a hip straw hat. By the end of the evening he would roll the sleeves of the jacket nearly to his elbows.   Announcing that all of the large acoustic and electric jazz box guitars onstage were his “children,” he played them with the love of a proud father.  The show was loosely structured and he tried songs that he clearly had not visited in a while.   Some were spur of the moment decisions.  So, when he sighed and murmured as he recalled the songs on the fly, it added some intrigue.

None of the guitars appeared to be in standard tuning, dropped down to D and sometimes lower. In the solo format this added a lot of character to each song, with his guitar playing gathering steam throughout the evening.   Familiar chords were played with unorthodox fingerings, and used a lot of jazz voicings that meshed with the lower tones of his voice perfectly.   In fact, it was easy to hear why so many great songs have been written in open tunings.

Reid’s stage presence physically evoked that of Keith Richards.  The same lunges and arm movements were at work.   Of course, he made light of all of this but, happily, it was still rock ‘n’ roll.  In a night full of good moments, perhaps the best was when he launched into a truly beautiful solo version of the Beach Boys’ “Don’t Worry, Baby.”  In that tune, and elsewhere, Reid affirmed that the simple connection between a good singer, a good guitar and a good song will always produce the purest musical moments.   Bravo!

Quotation of the Week: Albert Einstein

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“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music. …I get most joy in life out of music.”

Albert Einstein

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To read more Quotations of the Week  click here.

An Appreciation: Graciela

By Fernando Gonzalez

Graciela, a pioneer in Latin Jazz and one of the most important vocalists in the history of Latin music in the United States, died Wednesday morning at New York Cornell-Presbyterian Hospital in New York City. She had been hospitalized for some time and, according to reports, died of renal and pulmonary failure. She was 94.

Graciela Pérez Gutierrez was born in Havana, Cuba, on August 23^rd, 1915. She started singing encouraged by his foster brother, Frank “Machito” Grillo and, while still a teenager, she joined the all-female group Orquesta Anacaona. She had a solid professional life, including touring and recording, when in 1943 she was summoned to  New York City by her brother in law, saxophonist Mario Bauzá, musical director of the great Machito and his Afro-Cubans orchestra. Machito had been drafted and the band needed a vocalist.

She proved to be not only a top flight singer but a strong front person — versatile, sassy and engaging. She could swing with ease and then, seemingly just as casually, play up the emotions by telling a story of love found and lost in a bolero.

After Machito’s return, Graciela stayed on and sang with the orchestra until 1975 when, after a dispute over the direction of the band, Machito and Bauzá split. She returned to the stage and the studio with Bauzá´s own orchestra in the 1980s and unofficially retired in 1993, after Bauzá´s death. Still, she remained active, most recently recording with fellow Cuban conguero Cándido Camero on 2004’s Candido & Graciela Inolvidable.

Her friend and assistant of many years, Mappy Torres, told the New York Times that she died “with her claves in her hands.” It was only appropriate.

Graciela with Machito and Mario Bauza

Graciela recording with Candido Camero

Live Jazz: Ricardo Silveira and John Pisano in “Guitar Night” at Vitello’s

By Don Heckman

The great thing about John Pisano’s Tuesday Guitar Nights at Vitello’s is that you can drop by in any given week and be assured of having an enticing evening of jazz spontaneity.  Pisano’s guests, all of them first rate players, range from blues to bebop, from fast fingers to sweet lyricism.

Then there are those rare nights when something even more special happens – sometimes because of the uniquely compatible connections between Pisano and his guest, sometimes because of the mesmerizing ability of the guest him(or her)self.  Tuesday night, both elements were present, sometimes via the spot-on interaction between Pisano and Ricardo Silveira, more often because of the extraordinary abilities of the Brazilian-born Silveira.

John Pisano, John Leftwich, Ricardo Silveira / Photo by Faith Frenz

The first thought that came to mind during Silveira’s solo in the opening “How Deep Is the Ocean?” was how much this native of Rio had mastered all the qualities of contemporary, American-based jazz improvising.  Not surprising, perhaps, given his attendance at Berklee and his participation in both the Boston and New York City scenes.  But Silveira, like other international players (from many countries) who come to mind, has also spiced the American jazz roots of his music with the rich seasoning of his native land.

Ricardo Silveira / Photo by Bob Barry/Jazzography

It took a few more tunes before the set embraced a bossa nova rhythm – applied to the Italian song, “Estate,” which was offered in a spontaneous arrangement that opened room for both guitarists to solo, energized by Silveira’s authentic bossa nova rhyhms, and backed by the airy support of bassist John Leftwich and drummer Wilfredo Reyes (who played with brushes – no sticks – for the entire evening).   Antonio Carlos Jobim’s “So Danco Samba” followed, along with a Latinesque take on “Besame Mucho” in which Silveira switched to acoustic guitar.

Good host that he was, Pisano recognized that his guest was on a high, and – for the latter half of the first set and most of the second – he tended to follow Silveira’s lead in a selection of tunes that also included “Darn That Dream,” Cole Porter’s “I Love You,” Duke Ellington’s “Prelude To A Kiss” and a surging blues.  The result was a memorable Guitar Night, one in which everything Silveira played was golden – from his funk-driven blues solos to his lush balladry and infinitely subtle Brazilian rhythms.

By the time the mesmerizing music wound to a finale — well beyond the usual closing hour — Pisano, Silveira, Leftwich and Reyes had provided a potent reminder that Tuesday nights at Vitello’s are deservedly near the top of the Southland’s most rewarding jazz destinations.

Here, There & Everywhere: Carla Zilbersmith

By Don Heckman

I’ve written dozens of obituaries for the Los Angeles Times and elsewhere, some for close friends.  No one, however, will write a better obituary for Carla Zilbersmith, who is experiencing the advanced stages of ALS, than she will do for herself.  But an appreciation of the work of this extraordinary woman is an entirely different issue.  And there’s no time to do it like the present.

I first became familiar with Carla Zilbersmith and her music more than a year and a half ago.  My initial contact was with her CD, Extraordinary Renditions.  I thought it was one of the most impressive vocal jazz recordings of the year and reviewed it favorably.  Click here to read the review.

A month later, in October 2008, I met Carla, when she gave a live performance in Los Angeles.  This, too, was an utterly engaging effort from a singer and songwriter who brought musical insight, intelligence and interpretive believability to everything she sang.  Click here to read that review.

It was also one of her Carla’s last performances. In December of 2007, she had been diagnosed with ALS (Amyotrophic Lateral Sclerosis) – also known as “Lou Gherig’s disease.”  Which, she said, “sucks, because I hate baseball.”

“I’d really rather have been diagnosed with a basketball disease,” she told an audience shortly after receiving the diagnosis.  “Maybe with Wilt Chamberlain Disease.  That’s the one where you have sex 20,000 times and then you die.”

That kind of dark humor has characterized the way Carla, who is a writer, teacher and comedian as well as a singer — has dealt with the ALS over the past year and a half.  Her blog, Carla Muses, has included a series of remarkable posts, filled with sardonic wit as well as explicit descriptions of the progress of the disease.  Each post has been a stunning combination of sheer courage, outrageous humor and a passionate desire to let everyone know she was here.  Late last year she was instrumental in creating a 2010 calendar titled “Always Looking Sexy” which featured sexy photos (including one of Carla ) of models with ALS, ranging in age from 23 to 69 – all of them enticing.  Her latest blog entry is a pitch to sell more calendars (even though it’s April) via a film clip, created by Richard Ross, in which Hitler rants about the importance of the Calendar.  It’s one more example of Carla’s extraordinary bravery under fire.

I urge every one to log on to her blog and read a collection of material that will amaze you and, hopefully, find its way into book form.  Here’s the link to the blog: Carla Muses.

Yesterday an email arrived from Carla’s friend, Kathy Sprague.  “Carla’s energy level has continued to decrease,” she wrote.  “She finds she’s better off when she spends most of her time in bed.  In anticipation of her spending more time in her bedroom, her fabulous caregivers have strung up lights there and are decorating it with butterflies.  The hospice nurse is most concerned with Carla’s diminishing ability to swallow and told us that she believes Carla has weeks as opposed to months.  Carla wanted me to point out to everyone that she has beaten the odds before.”

I hope she does it again.  The world is a much better place when a person like Carla is a part of it.  But ALS has its inevitability. When asked how her friends would be informed of her passing, when it happened, she jokingly told Kathy Sprague that “she would put it out on her Facebook.”  The real plan will be an email distribution to her friends which will include her own obituary, no doubt filled with her typical gallows humor.

When I received my first email from Carla, she described herself as the “jazz singer with ALS.”  I wrote back, scolding her, saying her singing and her music stood on its own.  We both were right, of course.  The ALS was inescapable, and its progress soon made any further music-making impossible.  But the singing she recorded while her skills were still in fine form is still available.  And it should be heard by all who value pure talent.  The title, again, is Extraordinary Renditions, and it’s available, along with other of her recordings, at CD Baby, iTunes and Amazon.  A ninety minute documentary about Carla — Leave Them Laughing by John Zaritsky – will have its world premiere in Toronto in May.

Picks of the Week: April 5 – 11

By Don Heckman

Los Angeles

Gretchen Parlato

- April 5. (Mon.)  Gretchen Parlato.  A singer who finds the inner core of a song and makes it her own, Parlato is arguably one of the most original vocal performers of her generation.  Listen to her sing and you’ll be as bewildered as I was that she didn’t receive a Grammy nomination (much less an award) in January.  Catalina Bar & Grill (323) 466-2210.

- April 6 (Tues.)  Arturo Sandoval Big Band. Multi musical hyphenate Sandoval – trumpeter, singer, pianist and percussionist – expands his musical palette even more with the backing of a big, powerful jazz band. Vibrato.   (310) 474-9400.

- April 6. (Tues.)  Guitar Night.  John Pisano with Brazilian guitarist Ricardo Silveira exchange musical ideas in an evening that should be simmering with irresistible rhythms of Brazil.  Vitello’s.   (818) 769-0905.

- April 6. (Tues.) Charles Rosen.  An Evening of Chopin.  Rosen, both a music theorist and a thoughtful Chopin interpreter, presents a program of Nocturnes, Mazurkas and the Sonata No. 3 in B minor.  Irvine Barclay Theatre.   (949) 854-4646.

Terence Blanchard

- April 6 – 9. (Tues. – Fri.)  Terence Blanchard Quintet.  Blanchard has become almost as well known as a film composer as a trumpeter.  But when he walks on stage with his quintet, there’s no doubt about his abilities as a prime jazz artist.  Catalina Bar & Grill. (323) 466-2210.

- April 6 – 11.  (Tues. – Sun.)  “Hairspray.” The ‘60s come alive again in this high spirited musical based on John Waters’ 1988 film of the same name.  Expect to feel the rhythm.   Segerstrom Hall.  Orange County Performing Arts Ccenter.  (714) 556.2787.

- April 7. (Wed.)  Tomasz Stanko Quintet. Polish trumpeter Stanko manages to link jazz elements reaching from Miles Davis lyricism to abstract expressionism.  His international quintet includes players from Denmark and Finland. A Jazz Bakery Moveable Feast.   (310) 271-9039.  Musicians Institute concert center.

- April 7. (Wed.) The FIATO String Quartet performs the lyrical Mendelssohn Quartet No. 2 in A minor at a free concert in the Sanctuary of the First Baptist Church of Glendale.  12:10 – 12:40 p.m.  Glendale Noon Concerts.  (818) 242-2113.

- April. 8. (Thurs.)  Peggy Duquesnel.  She sings, she accompanies herself with intimately supportive piano playing and writes songs in the style of the Great American Songbook.  Expect to hear songs from her new CD, Summertime Lullaby.    Crowne Plaza Brasserie Jazz Lounge.  (310) 642-7500.

- April 8. (Thurs.)  Dwight Trible and John Beasley. Trible, one of the jazz world’s truly individual male singers matches his far-ranging vocal excursions with Beasley’s inventive piano work.  They’re backed by Trevor Ware, bass and Dextor Story, drums.  Vitello’s. (818) 769-0905.

Jackie Ryan

- April 9. (Fri.)  Jackie Ryan.  A singer who literally can sing just about everything, while imprinting every line with her uniquely memorable artistry.  Culver’s Club For Jazz in the Radisson Hotel.  (310) 649-1776.

- April 9. (Fri.)  Dave Pell and Med Flory. A pair of veteran saxophone stylists revive the sound of the alto and tenor front line.  The Backroom at Henri’s.   (818) 348-5582.

- April 9. (Fri.)  Denise Donatelli. The warm sound, subtle phrasing and engaging style of Allentown, PA’s gift to jazz are always a pleasure to hear.  Charlie O’s.   (919) 994-3058.

Charmaine Clamor

- April 10. (Sat.)  Charmaine Clamor The gifted creator of the “Jazzipino” style celebrates her pop skills with “Here Lies Love,” a collaboration with David Byrne and Fatboy Slim.   Catalina Bar & Grill. (323) 466-2210.

- April 10. (Sat.)  Luckman Jazz Orchestra.  Tribute to Duke Ellington. The finely honed skills of the fine LJO are applied to the stunning Ellington catalog – with both familiar and rarely heard items.  Luckman Fine Arts Complex.   (323) 343-6600.

- April 10. (Sat.)  Mark Winkler and Mary Foster Conklin. A pair of singers who sneakily enhance their cabaret skills with solid jazz chops get together for what promises to be an engaging jam.  The Gardenia.  (323) 467-7444.

- April 10 & 11. (Sat. & Sun.)  Sones de Mexico Ensemble. The Grammy-nominated ensemble showcase the traditional instruments, music and dance of their rich, Mexican heritage.  Getty Villa.   (213) 458-2003.

Lionel Loueke

- April 11. (Sun.) Lionel Loueke Trio.  Benin-born guitarist, singer and musical innovator has been opening ears since he first arrived in the U.S.  His recently released CD, Mwaliko, displays his remarkable talents in the company of Angelique Kidjo, Esperanza Spalding and others.  Loueke is not in L.A. very often, so don’t miss this one.  The Cafe Metropol.   (213)  613-1537.

San Francisco

April 8 – 11.  Bill Frisell. Guitarist Frisell’s residency at Yoshi’s includes a different musical challenge for each night.  On Thursday with three other guitarists; on Friday doing a live score for short films by Buster Keaton; on Saturday with violinist Jenny Scheinman; and on Sunday with pianist Jason Moran.  Yoshi’s Oakland.   (510) 238-9200.

New York

- April 6 – 10.  (Tues. – Sat.)  Pharoah Sanders Quartet.  Sanders continues his long exploration of the outer limits of spontaneous improvisation.  He’s backed by Bill Henderson, piano, Nat Reeves, bass and Joe Farnsworth, drums.   Birdland.   (212) 581-3080.

- April 6 – 11. (Tues. – Sun.)  Randy Weston’s African Rhythms Birthday Celebration will no doubt reveal that, at 84, the scope of his musical imagination is still as wide as ever.  Jazz Standard.  (212) 576-2232.

- April 6 – 11. (Tues. – Sun.)  The Bad Plus.  Always an exploratory trio, Ethan Iverson, Dave King and Reid Anderson’s For All I Care album underscored their belief in an egalitarian approach to their selection of music.  The Blue Note. (212) 475-8592.

"The Addams Family"

- April 8. (Thurs.)  The Addams Family comes to Broadway, starring Nathan Lane and Bebe Neuwirth.  “A dream cast, delightful story, and musical numbers you truly will be singing as you dance out of the theater,” wrote Bill Zwecker in the Chicago Sun-Tunes, reviewing the pre-Broadway run.  The Lunt-Fontanne Theatre.  (212) 304-44100.

- April 8. (Thurs.)  Musicians For Harmony.  “ Concert For Peace.” The Borromeo String Quartet, the Imani Winds Quintet and Randall Scarlata, baritone, offer a musical dialogue between cultures with a program of contemporary music composers of Jewish and Arabic origins.  Merkin Hall at the Kaufman Center. NYC.   (212) 501-3303.

Washington, D.C.

April 8 – 10. (Thurs. – Sat.)  Bucky Pizzarelli. The veteran master of the seven-string guitar was the first Pizzarelli to lay a claim to jazz stardom, and at 84, he’s still going strong. Blues Alley.  (202) 337-4141.

Quotation of the Week: Lionel Richie

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“The music business was not safe, but it was FUN. It was like falling in love with a woman you know is bad for you, but you love every minute with her, anyway.”

Lionel Richie

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To read more Quotations of the Week  click here.

Live Jazz: Dominick Farinacci at Vibrato Grill Jazz…etc. (2 Views)

By Tony Gieske

A ballad late in his last set at Vibrato Thursday night showed most clearly why Dominick Farinacci merits the title “a trumpet player’s trumpet player.” No histrionics in the Harry James manner, no pyrotechnics a la Maynard Ferguson, no mannered melancholy like Miles Davis.

Dominick Farinacci

Straight ahead it went in — the great 19th century cornetist Jean B. Arban could not have executed better — and lyrically and passionately it came out, songfully and sincerely.

Improvisationally, Farinacci made it all up as he went along, a feat not achieved by every Juilliard grad. There was plenty of bebop, to be sure, but it was made to serve and not to fill.

The thing that filled the listening soul was that sound. He blew his horn reverently, as Uan Rasey advises, as though he were telling someone something nice.

Pianist Dan Kaufman gave the golden boy support with admirable propriety, especially in a closing medley of Charlie Chaplin’s “Smile” and the Louis Armstrong favorite, “What a Wonderful World.” Hamilton Price, bass, and Kevin Kanner, drums, fanned the well sourced flames all night long.

Dominick Farinacci and Dan Kaufman

By Don Heckman

After reviewing a performance by Farinacci a few months ago at Vibrato, I thought it would be useful to add another perspective this time around.  And Tony Gieske – as a trumpet/cornet player himself – has brought an insightful view to the playing of this gifted young artist.

Quincy Jones

There were also several other qualities that impressed me even more strongly the second time around.  The first was the sophisticated diversity of the repertoire choices.  Tony’s already mentioned the poignant rendering of Chaplin’s “Smile,” and Farinacci offered an equally compelling take on a tune rarely heard in a jazz context — Jacques Brel’s “Ne Me Quitte Pas.”  And his lyrical version of the theme music from “The Pawnbroker” was evocative enough to draw a broad smile and enthusiastic applause from its composer, Quincy Jones, who was in the audience and equally responsive to the balance of the set.

Farinacci displayed his articulate mastery of both trumpet and flugelhorn by switching the usual approach to each, occasionally playing soft ballads on trumpet and up-tempo, fast fingered improvisations on the flugelhorn.  And his plunger muted solo on the blues was delivered with a hard-swinging drive that would surely have delighted Bubber Miley, one of the technique’s innovators.

In addition, his easygoing comments between numbers displayed – even more so than in his earlier appearance – a growing ease with his role as a rapidly emerging new star.  Still in his mid-twenties, Farinacci is convincingly putting all the pieces together for a major jazz career.

Photos by Tony Gieske.  Read and see more of Tony Gieske’s jazz essays and photos at his personal web site tonyspage.com.