Live Jazz: The Arturo Sandoval Big Band Performs for the California Jazz Foundation at Catalina Bar & Grill

By Don Heckman

Hollywood, CA.  “Let’s Give the Band A Hand” was the title for the jazz celebration at Catalina Bar & Grill Sunday night.  It was right on target.  The program was the annual fund-raiser for the California Jazz Foundation.  And the very worthy honoree was Catalina Popescu.  Both the CJF and Catalina have been “giving the band a hand” for years.

The celebration began late in the afternoon with cocktails on the outdoor patio and music by the Keith Jones Trio.  At dinner time, everyone moved inside the club for an evening of feasting, opening with a performance of the youthful, but very promising players of  “The Next Route”  and climaxing with the Arturo Sandoval Big Band.

Catalina Popescu

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Before the music began, Catalina received her much deserved award from the CJF, there was a fund-raising auction and the brief acknowledgment of a few of the numerous jazz supporters and celebrities in the audience.

But the musical high point of the event was the dynamic performance by Sandoval and the world class players in his Big Band.

The program included a few selections from a Sandoval performance at Catalina’s last November.  But both Sandoval and his players performed at such a high level that there was no sense of redundancy.

As usual, Sandoval’s far-ranging virtuosity was on full display.  His trumpet playing was extraordinary.  From a lush “Cherry Pink and Apple Blossom White” to an energetic and sometimes humorous duet on “And Then She Stopped” with trumpeter Gary Grant and another duet on “Waynard and Maynard,” originally written for Wayne Bergeron and Maynard Ferguson, here performed by Wayne and Arturo.

Arturo Sandoval and Wayne Bergeron

He also sang, in convincing ballad style, his own tune, “Every Day I Think of You,” inspired by his mentor, Dizzy Gillespie, and backed by a warm undercurrent of fills from tenor saxophonist Bob Sheppard.

On an untitled blues, Sandoval led the band through an improvised, on the spot arrangement, assembled spontaneously as he gestured to different soloists and sections, winding up with something resembling a Count Basie big band jam.  For “All the Things You Are,” featuring solos from alto saxophonist Dan Higgins and trombonist Bob McChesney, Sandoval showcased his impressive piano chops.  And in the closing fireworks of “Mambo Caliente,” he switched to timbales, displaying equally remarkable percussion skills.

Other high points of the evening included Higgins’ playing and arranging on the gorgeous saxophone soli of “The Man I Love,” and the bop-driven “Algo Bueno,” as well as Rusty Higgins’ expressive rendering of “Body And Soul.”

All in all, a remarkable collection of music, superbly performed.  And the only surprise was the early departure of many members of the audience – unexpected for a crowd that was presumably dedicated to jazz.  (Maybe not so surprising in Los Angeles, where people have been known to leave Dodger stadium in the seventh inning of a tie game to beat the traffic.)

But, beyond the pleasures of the music and the award to Catalina Popescu, the important aspect of the evening was the fund-raising for the California Jazz Foundation and its dedicated efforts to keep food on the table and a roof over the heads of the many needy jazz players and singers.

To learn more about the work of the California Jazz Foundation, click HERE.

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Photos by Bob Barry.

Preview: The Monterey Jazz Festival 56

By Michael Katz

For those of us in love with the Monterey Jazz Festival, the longest six months of the year are the time between the final note of the last Sunday night show at the fairgrounds and the April 1 announcement of artists for the next MJF. That wait ended Monday morning with the lineup for MJF 56, on September 20-22. Putting together a festival of this repute is no small task for Artistic Director Tim Jackson. He’s got to book enough legitimate headliners to satisfy a sometimes prickly Arena ticket base, while maintaining the diversity and inventiveness that makes MJF such a treasure.

My immediate reaction: good news for Arena season ticket holders, with jazz virtuosos at every stop; good news for Grounds attendees, with the usual mix of big names and intriguing new performers visiting the four smaller venues, and challenging news for those of us who like to float between stages. There are just too many shows that you wouldn’t want to miss.

Gregory Porter

The three evening Arena lineups are especially loaded.  For those of us who caught part of vocalist Gregory Porter’s rousing set at the Night Club last fall and wished we had seen more, wish granted. Porter will be opening the show Friday night. Next up is the Clayton-Hamilton Jazz Orchestra, playing a specially commissioned tribute to the late Dave Brubeck. Filling out the usual Latin jazz spot capping the Friday night program is Cuba’s Buena Vista Social Club. That is quite an opening night slate.

Joe Lovano

Saturday evening promises to be one of the most creative in recent memory. Leading off is Artist-In-Residence saxophonist Joe Lovano, teaming with trumpeter Dave Douglas, performing Sound Prints, music inspired or composed by Wayne Shorter. The middle slot is led by bassist Dave Holland, an MJF favorite. He brings his quartet, Prism, featuring guitarist Kevin Eubanks, pianist Craig Taborn and superb drummer Eric Harland. Closing out the show is Bobby McFerrin, touring with his Spirityouall release.

Diana Krall

The Sunday show is opened by Wayne Shorter, celebrating his 80^th birthday, with his all-star quartet featuring Danilo Perez, John Patitucci and Brian Blades. Closing the festival is Diana Krall. There’s little need to embellish; you clearly wouldn’t want to miss any of these shows. And yet…

And yet, check out a few of the artists performing at the Grounds venues: Friday night has pianist Uri Caine playing three sets at the Coffee House and vocalist Carmen Lundy at the Night Club, as well as a reprise performance by Gregory Porter, and separate ensemble appearances by Joe Lovano and Dave Douglas. Saturday night has the Brubeck Brothers quartet with a tribute to their dad; Ravi Coltrane, the Charlie Hunter-Scott Amendola duo, pianists Marc Cary and Craig Taborn, the Douglas-Lovano Sound Prints band, and classic vocalist Mary Stallings.

Wayne Shorter

Sunday features perhaps the festival’s greatest dilemma.  You wouldn’t dare miss Wayne Shorter or Diana Krall, but the annual B-3 organ blowout at Dizzy’s Den opens with guitarist Anthony Wilson’s trio featuring Larry Goldings and Jim Keltner,  and closes with the great Dr. Lonnie Smith. Meanwhile, over in the Night Club, alto player Lou Donaldson opens, and pianist Cedar Walton brings his latest Eastern Rebellion to close the show.  Usually music fans are too exhausted to be running between venues by Sunday night, but MJF 56 may prove to be the exception.

The two afternoon schedules offer their own pleasures: an eclectic mix of jazz, blues, kids, world music and a few things that defy description.  The Saturday line-up has morphed over the years from blues to roots music, to none-of-the-above. This year The Relatives, a gospel-funk group, leads off the Arena show and also gets the 5:30 slot at the Garden Stage. If you haven’t heard them before the festival, don’t worry, you will — along with the hundreds of fans hanging from tree limbs and lined up behind the bleachers.

George Benson

George Benson has the headline billing at the Arena.  Benson was on the short list of great post-Wes Montgomery guitarists in the seventies before changing his orientation to R and B type vocals, but he can still “play this-here guitar,” as evidenced by his recent Guitar Man CD. Out on the grounds, the Saturday Garden Stage show is always a blast from start to finish, even if you aren’t familiar with any of the acts. And if you are looking for some straight ahead jazz amidst all the blues-funk-whatever, bari sax and flutist Claire Daly has a Monk-influenced program at 4 pm in the Night Club. And, as per the last several years, one of our favorite vocalists, Judy Roberts, will be performing with sax man Greg Fishman throughout the festival on the Yamaha AvantGrand stage.

David Sanborn

Sunday afternoon features college and high school bands, highlighted by the Next Generation Jazz Orchestra, which will feature a guest appearance by the ubiquitous Mr. Lovano. As usual, I warn all of you not to miss this band – these kids will amaze you. Bob James and David Sanborn are the headliners for the Sunday afternoon show. I’ve always loved Sanborn’s blues and funky rock-tinged tenor sax, and James has done some great work as a composer and keyboardist. They have sometimes tailed off into the Ooze of Smooth, but their band, featuring drummer Steve Gadd, is hitting the major jazz festival circuit this summer, including the Playboy Jazz Festival in LA and the Blue Note Festival in New York, so here’s hoping for some classic jazz riffs from these guys.

I know I’ve left out a few highlights.  There are always acts I haven’t heard of that turn out to be knockouts, and new combinations that enthrall. Add that in with the usual mix of festival food, lovely Monterey weather and the camaraderie of new and old friends, and you’ve got an unforgettable experience.

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To read more iRoM reviews and posts by Michael Katz, click HERE.

To visit Michael Katz’s personal blog, “Katz of the Day,” click HERE.

Live Jazz: The Johnny Mandel Big Band

By Don Heckman

Johnny Mandel was at Vitello’s again Saturday night, leading a big band at the venue for the third time in a year.  Despite the familiarity of the music – or, perhaps, because of it — one couldn’t ask for better evidence of the long term quality of his achievements, as a composer, an arranger and a songwriter.

As in the previous appearances, the program was largely divided into two sets, with the first including most of the best-known Mandel classics, the second exploring some of his less familiar works.  In both sets, the music was utterly compelling, performed in dynamic fashion by an enthusiastic assemblage of Los Angeles’ finest players.

Johnny Mandel

At 87, leading the musicians from behind a music stand positioned in front of the saxophone section, Mandel touched upon the many high points of his extraordinary career.  They came in engaging fashion, one memorable melody after another: “The Shadow of Your Smile,” played lyrically by trumpeter Carl Saunders; the theme music from “I Want To Live,” featuring the baritone saxophone of Bob Efford; the lovely film song, “Emily”; “Suicide is Painless” (the theme song from “M*A*S*H”).

Add to that Mandel’s fiery flag waver, “Not Really the Blues,” originally written for the Woody Herman Band, a quirky chart for the Artie Shaw Band inspired by the Crazy Cat cartoon show, and an equally hard swinging arrangement of “Centerpiece.”  And let’s not forget Mandel’s gift for writing classic song melodies: including a gorgeous arrangement of his “Close Enough For Love, written with Paul Williams, performed here with saxophonist Steve Wilkerson in the solo role; and an equally lyrical “Where Do You Start,” composed with the lyrics of Alan and Marilyn Bergman.

Looking back over my previous reviews of the Mandel big band appearances at Vitello’s, I can see the potential for redundancy in my comments.  But there was no redundancy in the music.  Mandel’s originals, along with his arrangements, sound fresh and new each time they’re played.  And the pleasures of hearing them were aided by a stellar array of world class musicians.

Johnny Mandel leads his band

I won’t make a simple list of them.  But, in addition to those I’ve already mentioned, I can’t overlook the fine solo and section efforts of trumpeters Ron Stout, Bob Summers and Adolfo Acosta, trombonists Ira Nepus, Scott Whitfield, Phil Teele and Ryan Porter, and the extraordinarily versatile offerings of saxophonists/flutists/clarinetists Carol Chaikin, Keith Fiddmont and Ricky Woodard.  And, of course, the propulsive foundation provided by pianist John Campbell, guitarist John Chiodini, bassist Chuck Berghofer and drummer Zach Albetta (playing the Mandel book for the first time).

So, as it turned out, three performances in a year were not too many. Not for Mandel’s music, which is always a delight to experience in bold, living colors.  Here’s looking forward to his next Vitello’s appearance with his Big Band – hopefully as a celebration of Johnny Mandel’s 88^th birthday in November, along with the publication of his biography, which is reportedly in the works.

Photos by Faith Frenz.

Live Jazz: Wynton Marsalis and the Jazz at Lincoln Center Orchestra at Disney Hall

By Michael Katz

When Wynton Marsalis led his star-studded Jazz At Lincoln Center Orchestra onto the stage at a sold-out Disney Hall last night, he was greeted so warmly that you could sense the mutual appreciation before the first note was played. That feeling lasted throughout a memorable evening, underpinned by the band’s roots in Ellingtonia and bolstered by a combination of new compositions and fresh arrangements of material by Gerry Mulligan, Chick Corea and more.

The talent in this orchestra is staggering. Consider the trumpet section, led by Ryan Kisor  and featuring the terrific Marcus Printup and Mingus Big Band alum Kenny Rampton.   Not to mention Marsalis, himself, who picked his spots in several riveting choruses. Then there’s the front line of saxophones, with tenors Walter Blanding and Victor Goines anchoring the flanks, Ted Nash and Sherman Irby in the middle, playing alto and flutes, and a rising star, Paul Nedzela on baritone.

Wynton Marsalis and the brass of the Jazz at Lincoln Center Orchestra

I was less familiar with the trombone section, but they staked out their territory early, with section leader Chris Crenshaw’s composition “Creation.” After an opening fanfare from Printup and some gently swinging tenor work from Victor Goines,  Crenshaw and his cohorts, Vincent Gardner and Elliot Mason, took over. The Ellington influence was clear in Crenshaw’s composition – not just in the harmonics, but in the idea of the jazz orchestra as an organic conduit for the range of human emotions. If that seems to oversell the idea a little, it does provide a heartbeat for the diverse menu that followed.

Wynton Marsalis

Marsalis led JLCO to the Count Basie book for Frank Foster’s “Blues in Hoss Flat,” which featured Wynton’s first turn with a muted horn, and another spirited run by Goines on tenor. But it was pianist Dan Nimmer who stole the number. With all the fine section playing in this band, Nimmer often gets the best opportunities for expansive solos (there is, after all, no piano section). He has a deft touch, subtly shifting moods and tempos. Marsalis wisely gives him room in this powerful ensemble to establish himself.

If their overall oeuvre seemed a little retro at that point, the next segment, a nod to the late Gerry Mulligan, brought the band squarely into the hearts of this LA crowd. The first Mulligan tune, “Over The Hill And Out Of The Woods,” epitomized Mulligan’s swing and grace. Nimmer carried the melody along, joined by  Nash and Irby on flutes and a muted trumpet section behind them. There was lovely solo work by Kisor and Crenshaw. Oddly enough, the tune featured everything except the baritone sax. That was remedied quickly as Paul Nedzela and Dan Zimmer teamed up for a gorgeous version of “Lonesome Boulevard.” It is impossible to duplicate Mulligan’s lithe, almost effortless handling of the bari sax, but Nedzela did a splendid job of being reminiscent of the style without resorting to mimickry. The crowd was captivated by this extended performance, and rewarded him with a sustained ovation.

Wynton Marsalis and the Jazz at Lincoln Center Orchestra

Wynton, in the meantime, was comfortably ensconced with the trumpet line in the back row. In this age of megalomania, it is a revelation to see this band work without anyone standing out front. The pace is set subtly, with Sherman Irby sometimes counting things out from his front row center perch. But Marsalis is in charge, and last night he seemed particularly at home in the den-like atmosphere of Disney Hall. His reflections were witty and heartfelt, with the occasional spontaneous quips from the band. Following the Mulligan tribute, he introduced an Ellington line called “Braggin’ In Brass,” which he described as so difficult for the featured trombone section that Ellington only performed it once. The chorus indeed was a challenge, a burst of staccato playing by Crenshaw, Gardner and Mason, thankfully (for them) brief, abetted by some great brushwork by Ali Jackson on drums. As if to apologize for putting his ‘Bones through the wringer, Marsalis responded with an extended riff, rolling off brilliant cadenzas while the trombones caught their breadth.

The next two numbers featured the woodwinds of Ted Nash. First was a new arrangement of Chick Corea’s “Windows.” The song, which became a signature tune for flutist Hubert Laws, provided ample opportunities for Nash. He designated the theme to the trombone section, led  by Vincent . They provided a lush backdrop,  leaving Nash to explore the nuances with some lilting flute work before handing the melody back to Dan Nimmer for a gentle coda.  After a brief anecdotal interlude by Wynton, there was a special treat. Dick Nash, the 85 year-old father of Ted, came on stage. With a tambourine intro by Ali Jackson and another piano flourish by Nimmer, Nashes pere et fil performed “All The Things You Are.” Dick Nash’s tones were as full and sweet as ever, his lanky frame a visual delight as well, maneuvering the slide trombone.

Sherman Irby took the spotlight for the next two numbers. His elegiac composition “Insatiable Hunger,” featured a Walter Blanding solo on his curved soprano sax and some nice muted trombone work by Crenshaw, as well as Irby’s dramatic alto. Then there was his muted brass arrangement of “Yes Sir, That’s My Baby,”  which featured Vincent Gardner on the vocals. It also featured a joyful bass solo by Carlos Henriquez, who had been steady throughout the evening, but began to find some solo room as the concert reached its conclusion.

The nominal end to the evening was Kenny Dorham’s “Stage West,” which gave some solo work to a few of the players from whom we hadn’t heard enough: Ryan Kisor, Eliot Mason, more great stick work from Ali Jackson and a terrific turn from Walter Blanding. Of course, the audience wouldn’t let the band leave, and they returned with a spirited Ellington extravaganza.

***** ***** *****

At this point, your critic puts his pen down and simply stands with the crowd, enjoying the romp. When it is over, the band leaves but Wynton stays, along with the rhythm section. He rewards the crowd with a brief quartet turn, a Satchmo-drenched blues, before trailing off into the night.

To read more iRoM reviews and posts by Michael Katz, click HERE.

To visit Michael Katz’s personal blog, “Katz of the Day,” click HERE.

Photos by Tony Gieske.

Here, There & Everywhere: The 35th Anniversary Playboy Jazz Festival

By Don Heckman

It’s coming up to that time of year again.  Summer doesn’t really seem to spread its golden wings in Los Angeles until the annual middle of June Playboy Jazz Festival.  And the first advance word about the annual event is always presented in a mid-February press conference at the Playboy Mansion.

As it was yesterday, when producer Darlene Chan introduced the line-ups for this year’s two-day Festival at the Hollywood Bowl.  Before she began to announce the names, however, she presented the Festival’s new master of ceremonies, replacing Bill Cosby who retired from the job last summer after more than thirty years.

George Lopez

The new emcee is versatile entertainer/actor/comedian George Lopez.  Best known as the star of the ABC sitcom, George Lopez he also had his own talk show, Lopez Tonight on TBS and twice hosted the Latin Grammy Awards show.  Aiding Chan in the introduction of the Festival line-ups Lopez effectively demonstrated the intriguing combination of ebullient humor and jazz awareness that he will bring to his new role.

No mention, however, was made of the stellar Bill Cosby-led bands – the Cos of Good Music – that brought so many immensely engaging jazz ensembles to past Festivals.  Apparently Lopez will not be fronting his own Lopez of Good Music.

That said, there’s nothing to argue about with the two day line ups for the 35^th Anniversary Playboy Jazz Festival. The first problem facing producer Chan is the fundamental issue of how to fill 18,000 Hollywood Bowl seats for two consecutive days.  As I’ve mentioned in past Playboy Festival reviews, current jazz programming doesn’t have the luxury of the sort of iconic line ups – Miles Davis, Sarah Vaughan, Count Basie, Ella Fitzgerald, Dizzy Gillespie, etc. – that were available in the Festivals early years.

The solution – at Playboy, as well as at the Monterey, Newport, Montreal (and beyond) events – has been leaning toward diversity.  Rather than attempt to produce a pure jazz program, producers (Chan among them) are tending to stage a musical collective filled with artists from genres that fit compatibly with jazz, as well as artists who are expanding the definitions of the improvisational art.

Angelique Kidjo

Saturday’s bill, for example, includes: the extraordinary a cappella vocals of Naturally 7; the world music of Angelique Kidjo, the creative adventuring of the Robert Glasper Experiment; and the blending of Lee Ritenour’s guitar with the Gordon Goodwin Big Phat Band; Poncho Sanchez’s Latin jazz versions of John Coltrane classics.

Gregory Porter

And don’t forget the presence of Herbie Hancock with Naturally 7,  as well as the more traditional excursions of George Duke, singer Gregory Porter, the immensely talented young saxophonist Grace Kelly, and the Los Angeles County High School for the Arts Jazz Ensemble.

Sheila E.

The same, with a somewhat different slant, can be said for Sunday’s schedule, which is equally eclectic, reaching from the dynamic drumming of Sheila E. and the jamming of Trombone Shorty to the lush vocalizing of South Africa’s Ladysmith Black Mambazo chorus and the interplay of pianist ELEW with the Jazz Antiqua Dance Ensemble.  All of it again interspersed with the irresistible jazz stylings of the Clayton-Hamilton Jazz Orchestra with a tribute to Quincy Jones on his 80th birthday, the Bob James/David Sanborn group, the Brubeck Brothers Quartet (in a tribute to their father) and the vocals of India.Arie.

Hubert Laws, Quincy Jones, Jeffrey Osborne, George Lopez, Poncho Sanchez, Herbie Hancock

There’s more, as well.  All of it entertaining.  And one can praise producer Chan for having assembled a pair of consistently rewarding programs that provide appealing music for a wide range of audience tastes, while still remaining true to the essential identity of the Playboy Jazz Festival.

Here’s the daily line-up:

Saturday, June 15, 3 p.m. – 11. p.m.

George Duke with special guest Jeffrey Osborne

Naturally 7 with special guest Herbie Hancock

Angelique Kidjo with special guest Hugh Masekela

Ole Coltrane featuring Poncho Sanchez and his Latin Jazz Band with special guest James Carter

Gordon Goodwin’s Big Phat Band with special guest Lee Ritenour

Gregory Porter

Robert Glasper Experiment

Grace Kelly Quintet with special guest Phil Woods

Pedrito Martinez Group featuring Ariacne Trujillo

The Los Angeles County High School for the Arts Jazz Ensemble directed by Jason Goldman

Sunday, June 16, 3 p.m. – 10:30 p.m.

Sheila E.

Bob James/David Sanborn featuring Steve Gadd and James Genus

India.Arie

Trombone Shorty & Orleans Avenue

The Clayton-Hamilton Jazz Orchestra celebrates Quiney Jones 80^th birthday with special guests Patti Austin and Hubert Laws

Taj Mahal with the Real Thing Tuba Band

Ladysmith Black Mambazo

The Brubeck Brothers Quartet: A Dave Brubeck Tribute

Elew and Jazz Antiqua Dance Ensemble, Pat Taylor Artistic Director: A World Premiere Collaboration

The LAUSD Beyond the Bell Jazz Band directed by Tony White and J.B. Dyas.

Group photo by Bonnie Perkinson.  Other photos courtesy of the Playboy Jazz Festival

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Single day tickets for the Playboy Jazz Festival are available through Ticketmaster starting February 28.  (213) 365-3500 or (714) 740-7878.

Live Jazz: The John Beasley MONK-estra Upstairs at Vitello’s

By Don Heckman

Studio City, CA.  John Beasley described the 18 piece ensemble he brought to Vitello’s Wednesday night as a MONK’estra.  He also called it “A Big Modern Jazz Band.”

Both labels were right on target for this performance.  First, the great majority of the program was dedicated to the music of Thelonious Monk.  Second, Beasley’s arrangements, combined with superb individual soloing from virtually every musician, resulted in a definitive display of “Big,” “Modern” and “Jazz Band.”

The John Beasley MONK-estra

The Monk pieces – including such classics as “Epistrophy,” “Little Rootie Tootie,” “Skippy” and “Ask Me Now” – were at their best when Beasley conceived big band settings enhancing, expanding and elaborating on the Monk originals. Often he captured Monk’s unique quirkiness, the offbeat accents, punchy dissonances and surprisingly soaring melodies.  And he did so with stunningly atmospheric ensemble textures, powerfully driven by the propulsive rhythm team of bassist Ricky Minor, drummer Ronald Bruner, Jr., and Beasley’s own melodica playing.

Justo Almario, Ricky Minor, John Beasley

The performance occasionally recalled a famous 1959 concert at New York’s Town Hall, in which Monk performed with a tentet, playing arrangements of his music written by Hall Overton.  But the presence of Monk in the ensemble — along with Overton’s occasional arrangements of previously recorded Monk solos for the horns — was very different from the scope of Beasley’s big band charts.

With maximum-sized horn sections – five trumpets, five doubling saxophones and four trombones – Beasley’s arranging moved into expansive, orchestral textures reaching well beyond both the Overton arrangements and familiar big band riffing.  Like Bill Holman, he worked within his own musical dialect.  Even in the pieces based on Monk works, he found intriguing ways to apply his imaginative perspectives to Monk’s music.

The saxophone section players –  Bob Sheppard, Jeff Driskill, Justo Almario, Tom Luer and Bob Carr – were often called to double on clarinets (including a pair of bass clarinets), bringing a lush, fluid sound to many passages.  Adding more timbral contrast, the trombonists –  Francisco Torres, Wendell Kelly, Andy Martin and Steve Hughes – as well as the powerful trumpet team (Bijon Watson, Jamie Hovorka, Ray Monteiro, Brian Swartz and Gabe Johnson) were frequently asked to play with various mutes.

Interestingly, one of the many appealing products of Beasley’s envelope-stretching arrangements was some equally imaginative soloing from players who clearly seemed stimulated by their musical environment.  The net result was some of the most mesmerizing big band music – individually and collectively – of recent memory.

The only reservation about this remarkable evening was the thought that Beasley’s choice of the title “MONK-estra,” along with the decision to focus so strongly on Monk’s music, had too narrowly delineated his obviously extraordinary orchestrating abilities.  The few pieces that were not based on Monk’s works revealed Beasley’s capacity to deliver the broader, more expansive definition of what he also calls his
”Big Modern Jazz Band.”  It will be fascinating to see what he can do if he moves more convincingly in that distinctive, more personally expressive direction.

Photos by Bobby Colomby.

Live Jazz: A Busy Friday Night at Vitello’s and the Out Take Bistro

By Don Heckman

Studio City, CA.  Sometimes a music reviewer just has to do a lot in a single night – often unexpectedly.  As I did on Friday.  Even though it hadn’t actually started out that way.

My schedule for the evening originally included a stop at Vitello’s  to hear the Bill Cunliffe big band in action.  I”d written about the band fairly recently, but with Cunliffe nominated for a Grammy in today’s 2013 Awards (after winning a statuette in the 2012 Grammys), it seemed a good time to give another listen to his richly textured big band writing.  Add that the fact that he’d promised to include more selections from his jazz interpretation of J.S. Bach’s Goldberg Variations, and it was a performance that clearly offered some fascinating musical attractions.

The most gripping big band arrangements and compositions are usually well crafted combinations of inspired writing and inventive soloing.  And Cunliffe’s composing and arranging have always blended those qualities into irresistibly appealing musical banquets, enhanced by the playing of a world class assemblage of Southland players.

The Bill Cunliffe Big Band

On this night, as always, the Cunliffe band was overflowing with fine artists.  All deserve mention for their ensemble and solo playing.  But I have to highlight the especially impressive work of Bob Sheppard, playing lead alto (and lead soprano) in the saxophone section, the strong tenor saxophone soloing of Rob Lockart and Jeff Ellwood, the always superb trumpeting of Bob Summers and Carl Saunders, the equally sterling trombone work of Bob McChesney and Andy Martin, and the propulsive rhythm section work of drummer Joe LaBarbera, bassist Jonathan Richards and guitarist Larry Koonse.

Bill Cunliffe

The first part of the set was mostly dedicated to Cunliffe’s originals, which roamed freely across a gamut of styles, delivering them with convincing jazz authenticity.   Next, a pair of vocals added a different perspective: first, Dawn Bishop soaring through “The Devil and the Deep Blue Sea”; next, April Williams – who, as Vitello’s jazz producer, has transformed the club into a major jazz venue – sang a delightfully evocative version of “You Can Always Count On Me” from the musical City of Angels.  Listening to her, one couldn’t help but wish that she would make more singing appearances in the room, especially with the musical theatre material she does so well.

There was also an unexpected, but welcome performance by a guest artist – trombonist/composer Chris Brubeck.  Nominated (with his late father, Dave Brubeck) for a Grammy in the same category as Cunliffe, Chris was invited to share the stage the day before the Awards.  Chris responded with a warmly ingratiating trombone solo on the lovely ballad written by his father and mother, “In Your Own Sweet Way.”

The Cunliffe Band’s set closed with his re-imagining of the Bach Goldberg Variations, which he has re-titled The Goldberg Contraption.  But it was far more than a “Contraption” – more like a smoothly functioning Swiss watch, with Cunliffe’s transformation of Bach’s flowing harmonies and shifting counterpoint into an utterly believable jazz framework.

And there was more on the Vitello’s agenda before we could leave.  When the Cunliffe Band set concluded in the upstairs room, more jazz sounds were heard downstairs, where pianist John Campbell was playing for late diners and bar-hoppers in the club’s just-added musical setting, “Downstairs Piano Nights.”  No one interprets the Great American Songbook with more imaginative readings than Campbell.  And, even in a room filled with chatting listeners, he easily managed the demanding task of entertaining his audience, while approaching each song with fascinating creativity.

Cat Conner

But we had another stop to make before our evening was over.  Leaving Vitello’s, heading straight down Tujunga to a right on Ventura Blvd., we quickly arrived for the last few tunes at the Out Take Bistro.    It’s a Friday night gig usually featuring “Cat & Cip” — the vocals of Cat Conner and the saxophone and clarinet of Gene “Cip” Cipriano.

On this night, however, they were joined by a stellar array of players in a virtual jam session format.  The group included trombonist Dick Nash and guitarist John Chiodini (frequent partners of Cat and Cip), as well as clarinetist Alex Budman, soprano saxophonist John Altman and trumpeter Brian Swartz.

Gene Cipriano and John Chiodini

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We arrived just in time for an all-join-in jam on “Take the A Train” allowing plenty of space for the talented crew to stretch out.  And the final wrap up reached out to feature Cat’s warm, engaging vocal in a jaunty song reaching back more than a hundred years – “Hello, Ma Baby.” It was the perfect ending to a musical evening embracing everything from big band jazz and the music of J.S. Bach to the Great American Songbook, ragtime, and beyond.

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Photos by Faith Frenz.

Live Jazz: The Clare Fischer Big Band at Typhoon

By Michael Katz

Santa Monica, CA.  Anyone who has followed the Latin jazz scene in Southern California is well acquainted with the work of Clare Fischer. The keyboardist and composer, who passed away in January, 2012, left a trove of compositions, including “Pensitiva” and “Morning” and a large jazz ensemble that his son, Brent, has been leading for the past decade. Tuesday night at Typhoon, in Santa Monica, Brent used the occasion of the band’s Grammy nomination to present an eclectic set of Latin, straight ahead and classically influenced jazz.

The Grammy nomination (Best Latin Jazz) is for Ritmo! and over two sets, the band  covered most of the tracks on the CD.  Its energy base stemmed from a pulsating rhythm section that featured Quinn Johnson on electric keyboards, providing the kinetic backdrop that Clare had contributed to the Cal Tjader sound. Billy Hulting kept things percolating on the congas and Ron Manoag was steady on the jazz drums and percussion. Brent Fischer provided splashes of support on the vibes, though he stuck mostly to gilding the basic melodic lines, and Ken Wild held forth on bass.

Brent Fischer and the Clare Fischer Big Band

The opening numbers “Funquiado” and “Guarabe” showed off the depth of the band’s sections. The trumpets featured Rob Schaer as section leader and the veteran Ron Stout as lead soloist. Stout helped launch the evening with his work on “Funquiado,” while Josh Aguiar and Brian Mantz took the lead on “Guarabe.” The most stunning turn on that composition was by the great trombonist Francisco Torres. Torres, who has shined throughout the jazz scene here in LA, has a sound both lush and strident. His solos snapped both band and audience to attention, then melted back to the insistent beat of “Guarabe.”

Ten years ago, Brent Fischer recorded a jazz arrangement of Mussorgsky’s Pictures At An Exhibition and the various movements were integrated into both sets Tuesday night. Brent took full advantage of a woodwind section that had all the players doubling on saxophones, clarinets and flutes.  Alex Budman, the leader of the section, excelled on alto, flute, and even piccolo. In the movement that opened up the second set, tenor sax player Tom Luer picked up his flute and bari saxist Lee Callet completed the trio on alto flute. Later, on “Ballet of the Unhatched Chicks,” the section switched to clarinets, with Kirsten Edkins delivering some beautiful work on soprano sax.

One of the highlights of the evening was “In The Beginning,” which I would list as my favorite Clare Fischer tune that I never knew he’d written until last night.  Hubert Laws recorded it on one of his classic CTI albums, with Clare on keyboards. The frenetic lines at the song’s outset reflect the chaos of Creation, then drop slowly into the primordial ooze of a funky blues riff. Lee Callet, on baritone sax, grabbed that blues line perfectly and carried it home, handing it off to Budman and then the rest of the band as Brent Fischer led the ensemble back to its early scramble.

There were lots of moments to admire over the evening’s performance. The space itself, on the second floor of the airport’s small terminal, provided surprisingly good acoustics; all the solos were robust and clear. Trombonist Scott Whitfield had a nice scat-singing chorus as the second set opened, to go along with strong playing throughout. I especially liked the tenor sax work of Tom Luer. There’s a select few on the instrument who possess an unmistakable sound.  I wouldn’t put anyone in the class of Trane or Getz on the basis of a few solos, but Luer’s tone was reminiscent of Ernie Watts; he’s someone I’d like to hear more from.

As the second set continued to a typically diminished LA crowd, I put my pen down and floated along with the rhythms of the band’s particular West Coast Latin sound,  one that was carved out  by the likes of Cal Tjader and Clare Fischer and continues on with Poncho Sanchez and Brent Fischer. It seems particularly suited to our climate, even on a chilly February night.  The band closed with a three part medley, “Canonic Passacaglia, Blues and Vamp ’til Ready,” which featured, among others, Tom Luer again on tenor and Josh Aguiar on trumpet.  Fischer added a flourish on vibes, and that was the end of the pre-Grammy celebration.

Whether they win or not, it’s a terrific legacy to a great sound.

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To read more reviews and posts by Michael Katz click HERE.

Click HERE to visit Michael Katz’s new personal blog, Katz of the Day.

Picks of the Week: Feb. 5 – 10

By Don Heckman

Los Angeles 

Sally Kellerman

- Feb. 6. (Wed.)  Sally Kellerman.  The inimitable Ms. Kellerman is back, this time with an evening of Valentine’s Day songs in a program titled, appropriately, “Love.”  Don’t miss it.  Vitello’s.    (818) 769-0905.

- Feb. 7 – 10. (Thurs. – Sun.)  Robben Ford. Guitarist Ford, who moves easily across boundaries from blues to jazz and beyond, celebrates the imminent release of his new album, Bringing It Back Home.  Catalina Bar & Grill.  (223) 466-2210.

- Feb. 8. (Fri.)  Bill Cunliffe Big Band.  “Bach to the Future.”  Grammy-winning and Grammy-nominated pianist/composer/arranger Cunliffe leads his big band in his jazz imagining of Bach’s Goldberg Variations.  Later, starting at 9:30 p.m., pianist John Campbell will perform in a new Vitello’s weekly event – Piano Night in the downstairs dining room.   Vitello’s.   (818) 769-0905.

- Feb. 8 & 9. (Fri. & Sat.)  Rhythm of the Dance.  Irish step dancing in all its colorful variations, delivered by an expert company of dancers.  Cerritos Center for the Performing Arts  (562) 916-8501.

Wayne Shorter

- Feb, 9. (Sat.)  Wayne Shorter Quartet with Esperanza Spalding and the Los Angeles Philharmonic.  Saxophonist/composer Shorter presents the world premiere of a work for Esperanza and the L.A. Phil, commissioned by the Philharmonic.  Disney Hall.  (323) 850-2000.  www.laphil.com

- Feb. 9. (Sat.)  Rob Lockhart Quartet.  Versatile saxophonist Lockhart, an A-list sideman, steps into the spotlight.  He’s backed by pianist Josh Nelson, bassist Pat Senatore and drummer Mark Ferber.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Feb. 9 & 10. (Sat. & Sun.)  The Russian National Ballet Theatre. One of Russia’s finest ballet companies presents a pair of classics.   Sat.: Sleeping Beauty.  Sun.: Cinderella.  Valley Performing Arts Center.    (818) 677-3000.

- Feb, 10. (Sun.)  Ann Hampton Callaway.  “The Streisand Songbook”  Pianist/singer Callaway, who moves easily from jazz to pop to cabaret, offers a program of songs associated with Barbra Streisand.  Disney Hall.  (323) 850-2000.

San Francisco

- Feb. 7 – 10 (Thurs. – Sun.).  Dave Holland.  Bassist Holland displays his far-reaching musical versatility in four unique programs.  Thurs: Solo.  Fri.: Duo with Kenny Barron.  Sat.: Quintet.  Sun.: Dave Holland Prism.  SFJAZZ at Miner Auditorium.     (866) 920-5299.

Washington D.C.

Joshua Redman

- Feb. 7 – 10 (Thurs. – Sun.)  Joshua Redman.  The always adventurous, Grammy-nominated saxophonist stretches the musical genre-boundaries in search of new and compelling improvisational ideas.  Blues Alley.   (202) 337-4141.

New York City

- Feb. 5 – 9.  (Tues. – Sat.)  Lou Donaldson Organ Quartet.  He’s one of the still active iconic jazz saxophonist, performing this time in the grooving environment of an organ quartet.  Birdland.    (212) 581-3080.

- Feb. 5 – 10. (Tues. – Sun.)  Ron Carter Quartet.  Carter is not only a brilliant bassist and composer, he’s also a stimulating leader who knows how to assemble an imaginative jazz group.  This time out, he’s with pianist Renee Rosnes, drummer Payton Crossley and percussionist Rolando Morales-Matos.  The Blue Note.    (212) 475-8592.

Paris

Marianne Faithfull

- Feb. 9. (Sat.)  Marianne Faithfull and Bill Frisell.  It’s a fascinating combination.  Pop star/actress Faithfull has been an iconic figure since the ‘60s.  Versatile guitarist Frisell seems determined to try something new in every outing.  The combination should be intriguing.   New Morning.   01 45 23 51 41.

Copenhagen

- Feb. 7 & 8. (Thurs. & Fri.)  Leszek Mozdzer/Lars Danielsson Duo.  The names may be unfamiliar to English-speaking jazz fans, but pianist Mozdzer and bassist Danielsson play together with a spirit of jazz togetherness that reaches beyond the limits of languages. Jazzhus Montmartre.    (+45) 70 263 267.

Milan

- Feb. 7 – 9.  )Thurs. – Sat.)  Billy Cobham. Veteran drummer Cobham has assembled a band of players from France and England into a collective of true international jazz.   Blue Note Milano.    02.690 16888.

Tokyo

Monty Alexander

- Feb. 8 & 9. (Fri. & Sat.)  Monty Alexander: The Harlem-Kingston Express.  It’s a perfectly named band, with Jamaica-born pianist Alexander blending his impressive jazz playing with the traditional sounds and rhythms of his roots. Blue Note Tokyo.   03-5485-0088.

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Sally Kellerman, Wayne Shorter and Joshua Redman  photos by Tony Gieske.

Picks of the Week: Jan. 21 – 27

By the iRoM Staff

Los Angeles

Vicky Ray

- Jan. 22. (Tues.)  Vicki Ray.  Piano Spheres.  Exploration of contemporary music is at the heart of the Piano Spheres program.  This time, adventurous pianist Ray (with a chamber ensemble of musician friends) interprets the music of Stravinsky as well as new works by composers from Asia, Europe and the U.S.    Zipper Hall, Colburn School.

- Jan. 22 & 23. (Tues. & Wed.)  Shen Yun 2013 World Tour.  Founded by expatriate Falun Gong practitioners in New York, works to “revive the essence of 5000 years of Chinese culture” via extraordinary displays of Chinese classical, ethnic and folk dance.  With Orchestra.  The Fred Kavli Theater in the Thousand Oaks Civic Arts Plaza.   (805) 449-2787.

- Jan. 23. (Wed.)  The Monterey Jazz Festival on Tour.  High quality music is the basic foundation of the MJF.  And this rare evening underscores how captivating that music can get in the hands of artists such as Dee Dee Bridgewater, Christian McBride, Benny Green, Lewis Nash, Chris Potter, Ambrose Akinmusire.  Valley Performing Arts Center.  (818) 677-3000.

Mike Lang

- Jan. 23. (Wed.)  Mike Lang.  Pianist Lang’s long productive career reaches from Ella Fitzgerald and Ray Charles to Lee Konitz to Barbra Streisand, John Lennon and dozens of stops in between.  He’s also recorded more than 2000 film scores.  But here’s a chance to hear the ultimate inner Lang, musically up close and personal in a trio setting.  Catalina Bar & Grill.  (223) 466-2210.

- Jan. 23. (Wed.)  “A Jazzy Tribute to the Negro Baseball Leagues.”  Film maker and singer Byron Motley and special guests guitarist Phil Upchurch and pianist Corky Hale-Stoller celebrate the remarkable accomplishments of the great athletes of the Negro Baseball Leagues.  Vitello’s.    (818) 769-0905.

- Jan. 24. (Thurs.)  John Beasley Residency III.  The Monk’estra Big Band. Beasley’s impressive skills as a pianist and composer are applied to a fascinating evening of large group jazz.  The Blue Whale.    (213) 620-0908.

Stanley Clarke

- Jan. 24 – 26. (Thurs. – Sat.)  Stanley Clarke Band. The brilliant bass playing of Clarke brings vivid life to wherever he plays.  And it’s even better when he’s leading his own band of talented young artists.  Catalina Bar & Grill.   (323) 466-2210.

- Jan. 24 – 27. (Thurs. – Sun.)  The Los Angeles Philharmonic.  Conductor Ludovic Morlot, leads the L.A. Phil in a program of great classics – Beethoven’s Symphony No. 5, Mozart’s Piano Concerto No. 25 — and contemporary French composer Henri Dutilleux’s Shadows of Time. Walt Disney Hall.    (323) 850-2000.

- Jan. 26 & 27. (Sat. & Sun.)  The Los Angeles Chamber Orchestra, conducted by Helmuth Rilling offers a rare performance of Mozart’s poignant Requiem and  his classic Symphony No. 39. With the aid of the USC Thornton Chamber Singers.  Sat: at the Alex Theatre. http://www.alextheatre.org    Sun: At Royce Hall. http://cap.ucla.edu/visit/royce_hall.asp  (213) 622-7001.

Roger Kellaway

 

- Jan 27, 28 and 29.  (Fri., Sat. & Sun.)  The New West Symphony.    The N.W.S., under the baton of Marcelo Lehninger,  performs the West Coast Premiere of “Visions of America: A Photo Symphony.”  Music by Roger Kellaway.  Lyrics by Marilyn and Alan Bergman.  Photography by Joseph Sohm.  Vocals by Judith Hill and Steve Tyrell. With piano by Norman Krieger.   And a recorded narration by Clint Eastwood. Friday at the Oxnard Performing Arts Center, Saturday at the Thousand Oaks Civic Arts Plaza, and on Sunday at Barnum Hall in Santa Monica.

- Jan. 27. (Sun.)  Ron Jones Jazz Influence Orchestra.  The Jazz Influence Orchestra returns to Vitello’s for yet another banquet of big band jazz, played by the Southland’s finest musicians.  To read a recent iRoM review of the Jazz Influence Orchestra click HERE.   Vitello’s.    (818) 769-0905.

Lisa Hilton

- Jan. 27. (Sun.)  Lisa Hilton.  Her highly personal style, as a pianist, a composer and an improviser, has established Hilton as one of the uniquely individualistic performers on the contemporary music scene.  Vibrato Grill Jazz…etc.   (310) 474-9400.

San Francisco

- Jan. 24 – 26. (Thurs. – Sat.)  Joe Lovano’s Us Five.   Adventurous saxophonist Lovano leads the way for his current Us Five ensemble, featuring Esperanza Spalding, James Weidmann, Otis Brown III and Francisco Mela.  Yoshi’s Oakland.    (510) 238-9200.

- Jan. 26. (Sat.) Turtle Island Quartet.  The Grammy-winning string quartet, always trying out new ideas, offers a program of original works and music inspired by Django Reinhardt and Stephane Grappelli.  Freight and Salvage.   (510) 644-2020.

New York

- Jan. 22. (Tues.) Taarka.  The husband and wife leaders of  the acoustic group Taarka – the duo of mandolinist David Tiller and violinist Enion Pelta-Tiller — celebrate the release of their new CD, Adventures in Vagabondia.  Barbes in Brooklyn.    (347) 422-0248.

Ann Hampton Callaway

- Jan. 22 – 26. )Tues. – Sat.)  Ann Hampton Callaway. Callaway not only has a gorgeous voice, she also knows exactly how to use it.  And it’s especially memorable when she applies it – along with her talents as a musical story teller – to the classics of the Great American Songbook. Birdland.    (212) 581-3080.

- Jan. 24 – 27. (Thurs. – Sun.)  Omar Sosa and Paolo Fresu. They seem to be an unlikely combination – Cuban keyboardist Sosa and Italian trumpeter Fresu.  But the stirring results of their partnership attest to the true globalization of jazz.  The Blue Note.   (212) 475-8592.

London

- Jan. 25 & 26. (Fri. & Sat.)  Milton Nascimento. He’s one of the icons of Brazilian music, as a performer and as a composer.  And at 70, he’s still going strong.   Ronnie Scott’s.    +44 (0)7439 0747.

Paris

- Jan. 24. (Thurs.)  Steve Cropper and the Animals. The guitarist in Stax Records legendary house band, Cropper takes his unique blend of soul, blues, funk and beyond on the road with a band of eager associates. New Morning.  n  01 45 23 51 41.

Berlin

Judy Niemack

- Jan. 22. (Tues.)  Judy Niemack presents “New Voices in Jazz 2013.” A gifted, imaginative singer as well as an admired educator, Niemack introduces a collection of talented, if still relatively unknown young vocal artists: Zola Mennenöh, Laura Winkler, Anna Marlene Bicking and Sophie-Charlott Götte.  A-Trane.    030/313 25 50.

Milan

- Jan. 23. (Wed.)  Philip Catherine.  Belgian jazz guitarist Catherine’s resume reaches from the ‘60s to the present with artists such as Dexter Gordon, Jean-Luc Ponty, Chet Baker, Charlie Mariano, Stephane Grappelli and more.  At 70, his playing continues to be as eclectic as it is accomplished.  Blue Note Milan.    02.6901 6888.