Here, There & Everywhere: Jazz at the Federal

This post is part of the Jazz Journalists Association’s international “Blogathon.”

By Don Heckman

It’s always a significant event when a new room for jazz opens. Whether it’s small or large, daily or weekly, it’s still something to acknowledge, at a time when existing music venues are struggling to survive and new arrivals are in short supply.

So I was glad to be part of an enthusiastic crowd at the Federal Bar and Restaurant in North Hollywood’s NoHo district last Wednesday, when April Williams kicked off her Jazz at the Federal. In its beginning stages, it will only be scheduled for Wednesday nights, But given the success that hard-working April has had with her Upstairs at Vitello’s jazz programs, it’s a fair expectation that she’ll do similarly well with her Federal programs. At least one hopes so.

Underscoring her desire to program first rate jazz – ranging from big bands and straight ahead jazz to funk and TK – the opening night headliner was the Bob Sheppard’s stellar quintet, with the leader on soprano and tenor saxophones, John Beasley on piano and keyboards, Tim Lefebvre on bass and Steve Hass on drums.

The program ranged from Sheppard originals to a line by Freddie Hubbard (once an employer of both Sheppard and Beasley), And the ensemble interaction during the more intricately arranged passages was first rate. But the musical focus of the evening had less to do with complex charts than with some prime, showcase playing from the two principal soloists, Sheppard and Beasley.  World class players with impressive resumes, both have enhanced the bands of leaders with far broader visibility. But each can stand on his own – as they did this night – as avid improvisational adventurers. And with the equally intrepid support of Lefebvre and Hass the musical expeditions journeyed through one fascinating musical territory after another.

All this took place in the Federal’s large, high ceilinged second floor – a space alternately recalling a Greenwich Village jazz club of the ’60s and a timeless French cellar bistro. Although the brick walls and exposed beams tended to muddy low tones somewhat, it was a problem that sound reinforcement can resolve. Otherwise, the room is an amiable audio location.

When April Williams begins to present her continuing shows in May, Jazz at the Federal will begin to establish itself as the jazz destination it has all potential for becoming. The schedule forecast includes Arturo Sandoval’s 20 piece big band, the jazz funk of Bernie Dressel’s supercharged instrumental/vocal band, Bern, and Grammy winning Gordon Goodwin’s 18 piece Big Phat Band.

Only time – and the audiences – will tell, of course, but the future of Jazz at the Federal looks promising. Let’s hope the room and its programs become well attended additions to the rich diversity of jazz in Los Angeles.

For more information about April Williams’ Jazz at the Federal, click HERE.


 

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One Response to Here, There & Everywhere: Jazz at the Federal

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