Live Jazz: The 35th Playboy Jazz Festival at the Hollywood Bowl, Day #1

Review by Michael Katz

Photos by Bonnie Perkinson

Hollywood CA. One happy problem with an eight hour music fest that runs uninterrupted through the shifting temperatures of a near-summer’s day at the Hollywood Bowl is a lineup so strong you don’t want to leave your seat. That was the occasion on Saturday, Day 1 of the 35^th Annual Playboy Jazz Festival. It was a show that featured some bright new names in the jazz realm, a blur of world music and vocal skills, plus cameos and guest appearances from jazz legends and LA icons.

George Lopez

The most notable new face was comedian and actor George Lopez, who took over the emcee duties from Bill Cosby. Lopez smartly kept his patter brief and enthusiastic. Cosby, himself, never tried to upstage the music, and although his Cos of Good Music bands are dearly missed, their spirit was reflected in some adventurous booking, particularly a powerhouse mid-day lineup that had the sold-out house dancing in the aisles.

Some snarling traffic (not to mention my Park and Ride bus that broke down halfway between Westwood and the Bowl) resulted in a crowd filtering in through the first several acts. I entered to a pleasant set by percussionist Pedrito Martinez, with Ariacne Trujillo on keyboards and vocals. Their Latin rhythms set up a relaxed atmosphere as the crowd gathered and settled into party mode. But things got down to business immediately thereafter, with the appearance of Grace Kelly and her quintet.

Grace Kelly

The vivacious Kelly, only 21 years of age, has a half-dozen albums already to her credit. She plays mostly alto sax and doubles as a vocalist, excelling at both. Her alto tones are clean and driving, her own compositions melodic and well served by her lovely voice. Her band included one of LA’s premier young pianists, Josh Nelson, and an outstanding young trumpeter from Boston, Jason Palmer, who gave us some of the handful of great trumpet licks of the afternoon.

Grace Kelly and Phil Woods

It takes plenty of self-assurance for a young musician to invite Phil Woods on as a guest and then stand up to him, lick for lick, but Kelly was up to the task. They dueted on her composition “Man In A Hat,” (from the CD of the same name) written as an homage to Woods. His presence seemed to inspire Ms. Kelly, and I don’t think a blindfold test could have separated the two of them. They later romped through a medley of “How High The Moon” and “Ornithology” with equally fine results. Bassist Evan Gregor and drummer Bill Goodwin rounded out this terrific band. Grace Kelly, originally from Boston, has settled here in the LA area, which is great news for local jazz fans – if they can catch her on a break from an ambitious touring schedule.

Gregory Porter

I had caught the end of an electrifying set by Gregory Porter last September at the Monterey Jazz Festival (where he will be the opening act this year), so it was no surprise to see him light up the Playboy stage, even in the shank of the warm afternoon. Porter has it all. His deep, evocative voice has the authority of a Joe Williams; he has an engaging stage presence that can command even a crowd settling down for wine and hors d’oeuvres. Porter was in a romantic mood, with a ballad, “No Love Dying,” from a soon-to-be-released album. His band features a sparkplug in altoist Yosuke Sato, who whipped the crowd up with ascending riffs that arced into the pungent afternoon air like tracers. Porter continued on, imploring the audience to “Hold On,” while segueing into Oscar Brown Jr.’s lyrics to Nat Adderley’s “Work Song.” The title song to his new CD, Liquid Spirit, featured some terrific piano work by Chip Crawford. Porter’s closer, (as in the Monterey set), was “1960 What,” an ode to the unrest in sixties Detroit, sung with a gospel fervor that recalled Les McCann’s vocals from the seventies. Porter shone throughout. The LA native, by way of Bakersfield, is clearly on the cusp of something special.

Robert Glasper

Robert Glasper has been a ubiquitous presence lately, bridging the gap between jazz and pop with his straight ahead jazz trio and his “Robert Glasper Experiment,” which usually includes a guest from the hip hop world. On Saturday he featured Casey Benjamin on sax and vocoder, as well as the terrific jazz bassist Derrick Hodge and Mark Colenburg on drums. I’ll freely admit that I prefer the “jazz trio” – I put that in quotes because whatever Glasper does has a spirit of adventure to it. Glasper has a quick wit and engaging patter – he’s clearly the jazz performer most likely to host his own TV show. The Experiment is, no surprise, amped up and electronic, and went over fine with the crowd. But Glasper still found the occasion to invite Bowl favorite Dianne Reeves onstage. True to the Experimental spirit, she sang Oscar Brown Jr.’s lyrics to “Afro Blue,” circling on and off the beat, letting the audience find their way into the song.

Angelique Kidjo greets her 18,000 fans at the Playboy Jazz Festival

It’s hard to imagine a more exciting performer for a music festival than Angelique Kidjo, from Benin. I’ve seen her twice, now – the first time anchoring the Sunday afternoon stage show at Monterey a few years ago. Her unique blend of African rhythms, elucidated in several languages, French, Yoruba and Swahili among them, is intoxicating. The pulsating rhythms and percussions, familiar to U. S. audiences through such artists as Miriam Makeba and Ladysmith Black Mumbazo, were highlighted by a terrific guitarist, Dominic James, and percussionists Magatte Sow and Yayo Serka, along with Itaiguara Brandao on bass.

As if that was not enough, Hugh Masekela joined the group for several numbers. Kidjo exudes warmth – even if you can’t decipher her lyrics, the spirit of inclusiveness permeates everything she does.

Anglelique Kidjo and Hugh Masekela

Masekela’s flugelhorn remains deceptively simple, his tones clear and bold. His gravelly voice counteracted with Kidjo’s, and the two of them brought the crowd to their feet early and for the duration. Kidjo’s finale included promenading into the crowd and bringing back selected audience members onto the stage – I don’t know whether she does some magical on-the-spot scouting or just counts on divine inspiration, but it works wonderfully. Magatte Sow took center stage on his conga drum and provided the transformational spell, while the audience had a blast, onstage and off.

I’ve always thought that the Playboy Jazz Festival might benefit from a ten or fifteen minute break sometime during the show. It would give the audience a chance to wind down, break out the picnic baskets, talk to their friends without having to shout over the music. If there was ever a time to do it, it would have been after Angelique Kidjo’s set, which was impossible to follow. Gordon Goodwin’s Big Phat Band would seem to be a perfect candidate, with the impressive sound of a 20 piece ensemble.

The Gordon Goodwin Big Phat Band

They opened with two burners and a great solo on alto sax by Eric Marienthal, but the audience wasn’t ready to be engaged by what is basically a performance band. They finally found a little traction with Goodwin’s Grammy-winning arrangement of “Rhapsody in Blue.” Gershwin, after all this time, can still make people sit up and pay attention. After a brief appearance by “The Voice” vocalist Judith Hill, the band found some more familiar and appealing ground when they were joined by guitarist Lee Ritenour. Ritenour brought one of his most successful arrangements, his adaptation of Jobim’s “Stone Flower” into the Big Phat Band groove. His second number was a tight Goodwin arrangement of his tribute to the late Les Paul, simply titled L.P. That was the Big Phat Band and Ritenour at their best, weaving smart guitar licks into the larger sound. They kept the audience with them for the final tune, “Race To The Bridge,” with sax player Brian Scanlon and Andy Martin on trombone leading the way out.

Naturally 7 is a contemporary vocal band, sort of a capella meets hip hop, led by baritone Roger Thomas. This was their third Playboy appearance in four years, so they were warmly received throughout their set. The group combines elements of Doo-Wop, Hip Hop, and McFerriana. Their “vocal play” extends past the traditional vocal levels and instruments; it includes “DJ” and “Beat Box.” Whatever the simulation, it was pretty heavily amplified from the start, proving it is possible to have too much bass, even if you don’t have a bass. But it was a tight and lively show, emphasizing Doo – Wop in “Summer Breeze” and providing a playful narrative with “Englishman In New York.”

Naturally 7 with Herbie Hancock

Herbie Hancock joined them with one of his “keytars;” it seemed altogether fitting that he would jam with them on “Chameleon.” The opening bass line to that Herbie classic still galvanizes an audience, and Hancock continued with splashes of electronica throughout his appearance.  The group finished off with George Harrison’s Beatles classic, “While My Guitar Gently Weeps.” At that point you could look back pleasingly at the versatility of the entire Saturday lineup; in a matter of a few hours you could go from Gershwin to Jobim to Herbie Hancock to George Harrison and somehow fit it all under the jazz tent.

And there was still some Coltrane to come. Maybe not quite enough; Poncho Sanchez’s set was entitled Ole’ Coltrane, after the 1961 Coltrane album of the same name, though the set was more Ole’ than Coltrane. Not that there’s anything wrong with spending an hour with Poncho’s band, whatever the circumstances. Along with Sanchez’s formidable conga work, his group featured Musical Director Francisco Torres, doing double duty (he also soloed with the Big Phat Band.)

Poncho Sanchez Latin Jazz Band

But I was especially impressed by Ron Blake, who delivered some feisty trumpet cadenzas in the opening Latin numbers. We didn’t hear a lot of lead work from the staple jazz instruments over the day’s program, which was heavy on vocals and large ensembles, so it was a pleasure to hear Blake and then James Carter, who provided the Fest’s primary blast on the tenor sax.  Carter provided scorching work on a Latinized arrangement of Trane’s “Giant Steps,” and more laid back and melodic playing on Duke Ellington’s “The Feeling of Jazz,” which Ellington recorded with Coltrane. Poncho’s version had a tinge of the Mingus Latin feel to it, with some excellent supporting work by Torres. That was it, though, for the Coltrane material. Carter rejoined the band for a final number, Poncho’s always entertaining version of Herbie Hancock’s “Watermelon Man.”

Regrets to George Duke, whose final blasts into the night came after much of the crowd had left, thoroughly sated by such a pleasing mixture of jazz and funk, performed by ensembles large and small, and by players seasoned and refreshingly new. It was one of the best days at the Playboy Jazz Festival in recent memory and a great start for the two day event.

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

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    Dearly Befuddled.

Live Music: The Lado B Project at Vitello’s

By Don Heckman

Studio City, CA.  Brazilian music nights are not uncommon in Los Angeles.  Not with the city’s substantial population of world class Brazilian players – along with the American musicians who have developed considerable competence with Brazilian music over the years.

The Lado B Project is a combination of both, blending a collection of players who brought a full palette of musical perspectives to a compelling musical evening.  Their performance at Vitello’s on Wednesday night was a magical display, underscoring the rich, panoramic qualities of Brazilian music.

Catina DeLuna

It could only have been done this way by some of L.A.’s most versatile musical artists.

Start with Brazilian-born singer/pianist/composer Catina DeLuna, whose many diverse activities include the founding in Sao Paulo of Serenata Braxileira, which specialized in classic Brazilian songs from the ‘20s and ‘30s.  Singing solo, playing hand percussion, occasionally moving to the piano to accompany herself, she was the central focus for most of the songs.

Otmaro Ruiz

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Add the eclectic Venezuelan pianist/accordionist/arranger Otmaro Ruiz, whose resume, overflowing with credits reaching from Herb Alpert and John McLaughlin to  Arturo Sandoval and John McLaughlin, underscores his remarkable, genre-crossing skills. In addition to his solid piano accompaniment, he brought some atmospheric accordion playing to a few of the selections.

The guitar is an essential element in Brazilian music, and one couldn’t have asked for a more skilled player than guitarist Larry Koons, who is at the top of the list for virtually all music contractors, largely because he brings so much musicality to whatever genre of music he plays.  On this night, he used acoustic guitar, roving freely across the many Brazilian rhythms filling the evening’s program.

Larry Koonse and Catina DeLuna

The rhythm team added their own appealing qualities. Aaron Serfaty was a first call drummer in his native Venezuela before he moved to Los Angeles.  And bassist Edwin Livingston, also with an impressive resume, lists the Marsalis brothers, David “Fathead” Newman, Natalie Cole and Stanley Jordan among his many associations.

Directed by DeLuna’s informative musical guidance, with Ruiz’s arrangements, Koonse’ authentic guitar work, and the propulsive rhythms of Serfaty and Livingston, the music came vividly to life.  Much of it, reaching back to songs of the ‘20s and ‘30s, was unfamiliar to American audiences.  But there was no denying its appeal – or, for that matter, the appeal of more easily identifiable songs from Antonio Carlos Jobim, among others.

The only thing missing was some background on the earlier musical selections.  Printed programs are rarely present in night club performances.  But a list of song titles, composers’ names and genre descriptions of the selections from the pre-WWII years would have further enhanced this otherwise fascinating evening.

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Photos by Faith Frenz.

Picks of the Week: May 14 – 19

By Don Heckman

Los Angeles

Brenna Whitaker

- May 15. (Wed.)  Brenna Whitaker.  She could have been a ‘30s platinum blond star.  But Whitaker doesn’t just look good; she can sing, too.  This time out she picks a set of tunes to enhance the birthday of Vibrato co-owner Eden Alpert.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- May 15. (Wed.)  Lado B Project.  A lively evening of Brazilian music, featuring Otmaro Ruiz, piano, Larry Koonse, guitar, Edwin Livingston, bass, Aaron Serfaty, drums and Catina DeLuna, voice.  Brazilian music.  Vitello’s.    (818) 769-0905.

- May 16. (Thurs.)  Lisa Hilton. The ever adventurous pianist/composer Hilton continues her quest for new musical territories for her to explore. Catalina Bar & Grill.   (323) 466-2210.

- May 16. (Thurs.)  John Proulx.  Singer/pianist Proulx has begun to claim a position in the rare category of male jazz singer.  Proulx, like his musical role model, Chet Baker, brings the flowing phrases of his instrumental playing to his vocal interpretations.    H.O.M.E. (House of Music and Entertainment)   (310) 271-4663.

- May 17. (Fri.)  Jim Snidero Group.  Saxophonist Snidero’s lengthy resume reaches from his own numerous recordings to performances with everyone from Frank Sinatra to Frank Wess. The Blue Whale.    (213) 620-0908.

Melissa Manchester

- May 17 – 19. (Fri. – Sun.)  Melissa Manchester. She’s been producing memorable music since the ‘70s, including “Midnight Blue” and “Don’t Cry Out Loud.”  Here’s a chance to catch her in one of her rare club appearances. Catalina Bar & Grill.   (323) 466-2210.

- May 17 – 19. (Fri. – Sun.)  Larry Goldings, Peter Bernstein and Bill Stewart.  This is a stellar organ trio if ever there was one.  Each of the players is an influence in his own right.  Don’t miss them.  Vitello’s.    (818) 769-0905.

- May 17 – 19, 23 & 25. (Fri. – Sun., Thurs., Sat.)  Mozart/Da Ponte Trilogy.  The Marriage of Figaro. The second of the Los Angeles Philharmonic’s three year trilogy of opera by Mozart and librettist Lorenzo Da Ponte.  The great comic opera is performed in a concert staged version by the Philharmonic, the Los Angeles Master Chorale and soloists.  Disney Hall. 
http://www.laphil.com
  (323) 850-2000.

- May 19. (Sun.)  Los Angeles Chamber Orchestra.  Concerto Finale.  The LACO players offer a fascinating evening of concertos, including Shostakovich’s Cello Concerto, and an offbeat bassoon concerto performed with a 1927 silent film.  Add the Beethoven Coriolan Overture and anticipate an engaging program.   CAP UCLA at Royce Hall.   (310) 825-4321.

- May 19. (Sun.)  Deborah Voigt.  Critically acknowledged as one of the classical music world’s dramatic sopranos, Voigt – who roves freely from Wagner to Puccini – offers an intimate recital of works by Strauss, Tchaikovsky, Bernstein and more.  Valley Performing Arts Center.  (818) 677-8800.

San Francisco

Bela Fleck

- May 16 – 19 (Thurs. – Sun.)  Bela Fleck solo.  Banjo master Fleck has performed in every imaginable setting.  But he is especially compelling musically when he plays in the creative intimacy of a solo performance.  SFJAZZ Center Miner Auditorium.    (866) 920-5299.

Seattle

- May 14 & 15. (Tues. & Wed.)  John Hammond.  Praised by the likes of Tom Waits and T-Bone Burnett, Grammy-winning guitarist/singer/harmonica player Hammond keeps the blues alive in everything he plays.  Jazz Alley.    (206) 441-9729.

New York City

- May 14 – 18. (Tues. – Sat.)  Bossabrasil.  Featuring Dori Caymmi with special guest, Joyce.  Rio comes to Manhattan in the form of a pair of Brazil’s most versatile and gifted musical artists.  Birdland.    (212) 581-3080.

- May 14 – 19. (Tues. – Sun.)  The Gil Evans Project.  Directed by Ryan Truesdell.  An amazing week of music, featuring a large ensemble exploring the full range of Gil Evans’ extraordinary talents.  The selections for each night include Gil Evans’ music for the Claude Thornhill Orchestra, “Out of the Cool,” “New Bottle, Old Wine,” “Great Jazz Standards,” “The Individualism of Gil Evans,” “Miles Ahead,” “Porgy and Bess,” Check with the club for scheduling.  The Jazz Standard.    (212) 576-2232.

London

Roy Haynes

- May 15 & 16. (Wed. & Thurs.)  The Roy Haynes Fountain of Youth Band. The Fountain of Youth has had the biggest impact upon the leader, drummer and role model in this band.  At 88, Haynes is still playing with the imagination and energy of youth.  Ronnie Scott’s.   +44 20 7439 0747.

Berlin

- May 17 & 18.  (Fri. & Sat.)  Lee Ritenour.  He used to be called “Captain Fingers” in honor of his high-speed dexterity.  But guitarist Ritenour has a more lyrical side as well, often employing octave melody style of his favorite musical model, Wes Montgomery.  A-Trane.    +49 30 3132 ext. 550

Copenhagen

- May 15 & 16. (Wed. & Thurs.)  Mark Whitfield.  Dubbed the “best young guitarist in the business” by the New York Times, Whitfield performs with a trio of prime Danish jazz musicians: Henrik Gunde, piano, Kasper Vadsholt, bass and Rasmus Kihlberg, drums.  Jazzhus Montmartre.   +45 31 72 34 94

Milan

Anat Cohen

- May 18. (Sat.) Anat Cohen.  Clarinetist/saxophonist Cohen is in the forefront of an impressive generation of female jazz instrumentalists.  She’s backed by Jason Lindner, piano, Stefano Bellani, bass and Daniel Freedman, drums.  Blue Note Milano.    +39 02 6901 6888.

Tokyo

- May 14 – 16. (Tues. – Thurs.)  Benny Golson Quartet.  Tenor saxophonist/composer Golson is still, at age 84, a player with a lot of music to express.  Hopefully he’ll also play some of his jazz hits such as “Killer Joe,” “Whisper Not,” “Along Came Betty” and more.  The Blue Note Tokyo.    +81 3-5485-0088.

Live Jazz: Jackie Ryan at Vitello’s

By Don Heckman

Studio City CA.  Jackie Ryan’s appearance at Vitello’s Monday night was one of the most musically gripping performances of recent memory.  Listening to her two extended sets of songs before an enthusiastic, packed house crowd, I found myself wishing that the entire evening had been videotaped.

Why? In part for the pleasure of Ryan fans who couldn’t make the gig (or those who, like me, did but who would love to have a video for future enjoyment).  And in part because a video of her performance could well have served as a virtual seminar in song for vocal classes in university jazz programs around the world.

Jackie Ryan and Graham Dechter

None of all this, of course, was in Jackie’s mind as she kicked off the evening with a light hearted romp through the often-covered Bob Dorough/Ben Tucker tune, ‘Comin’ Home Baby.”  Music, not video, was clearly her focus – music reaching across the spectrum from blues to ballads to bossa nova, with a lot of other enchanting stops along the way.

Beyond that, and at the heart of all her interpretations, it was Jackie’s musical story-telling gifts – as a singer and an actress — that brought her songs vividly to life, regardless of their style or substance.  More than almost any other jazz singer I’ve seen lately, she is an irresistible communicator.

Jackie was superbly supported by the world class ensemble of tenor saxophonist Rickey Woodard, trumpeter John Reynolds, guitarist Graham Dechter, pianist Gerald Clayton, bassist John Clayton and drummer Jeff Hamilton.  Most of the players (with Reynolds replacing Gilbert Castellanos and Hamilton replacing Obed Calvaire) were present on Jackie’s highly regarded CD, Listen Here.  And her program was completely dedicated to a live, in-performance look at some of the musically and dramatically rich collection of songs on the album.

Rickey Woodard, John Reynolds, Jeff Hamilton, John Clayton and Gerald Clayton

The highlights came, one after another.

A lovely bolero, “La Puerta,” chosen to honor Jackie’s Mexican mother, was done as a musically intimate duet between Jackie’s voice and Dechter’s guitar.  Dechter also played an equally vital role in “Chega de Saudade” (“No More Blues”), sung in English and Portuguese.  The piece was wrapped up with a delightful coda in which Jackie did a stunning vocal simulation of Brazilian percussion.

Gerald and John Clayton

Pianist Gerald Clayton played with similar finesse on several tunes, including some full-out gospel piano accompaniment as Jackie preached her way through “Accentuate the Positive,” done with the verse.  And Clayton’s subtle touch, a vital element in almost every number, was especially well crafted in his accompaniment for Jackie’s poignant rendering of “I Loves You Porgy.”

In some of the more lively songs, the horn players provided dynamic instrumental backing, often soloing between vocal choruses, with trumpeter Reynolds delivering in laid-back Chet Baker style and saxophonist Woodard dipping into the warm seductiveness of Ben Webster-like phrasing.  Bassist Clayton and drummer Hamilton meanwhile served as the dependable rhythmic engine, keeping everything on track.

And there was more: standards such as “How Little We Know” and “The Gypsy in My Soul,” more offbeat items including “How Long?” “To the Ends of the Earth” and Dave Frishberg’s “Listen Here” (the album title song).  Add a pair of relatively new songs: “Rip Van Winkle” by Jon Mayer and Mark Winkler, and a new tune with lyrics by the Bergmans and music by John Clayton – “Before We Fall In Love.”

Finally, Jackie wrapped this remarkable evening with a romp through “Red Top” featuring both her scatting and her vocalese in another vivid display of her extraordinary abilities.

Reveling in this climactic ending, one could only hope that she will increase the number of her too-rare appearances in the Southland.  Either that, or start providing some videos for her fans who would like to have more frequent contact with Jackie Ryan and her music.

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Click HERE to read a recent iRoM review of Jackie Ryan’s new album, “Listen Here.”

Photos by Faith Frenz.

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: Amanda Brecker at Vibrato Grill Jazz…etc.

By Don Heckman

Amanda Brecker, a new face in the continually expanding jazz vocal field, made a rare Southland appearance Wednesday night at Vibrato Grill Jazz…etc.  Arriving shortly after the release of her new CD, Blossom (Decca), she spent a substantial portion of her two set-program singing the songs of James Taylor and Carole King that she covers on the album.

That’s a memorable repertoire, one that was the virtual soundtrack for many music fans in the late ‘60s and early ‘70s via songs such as “It’s Too Late Now,” “Sweet Baby James,” and more.

Amanda Brecker

In contrast, Brecker, who plays guitar and piano, also included a substantial serving of her own songs, many from Here I Am, her award-winning first album, released in Japan.

Conceptually, the combination is an intriguing career move for Brecker.  Her youthful energy, soaring vocals and contemporary interpretations open the classic King/Taylor repertoire for a potentially broader demographic than graying, boomer memorabilia seekers.  Probably even a younger audience.  Add to that her own imaginative songs, which have clearly been influenced by the King/Taylor singer/songwriter styles.

But the real key, of course, is how effectively she delivers it.  Her recordings have been well received, the work of a gifted young artist.  (Her creative credentials have clearly been enhanced by the legacy of her parents – Brazilian jazz pianist/singer Eliane Elias and jazz trumpeter Randy Brecker.)

The Amanda Brecker Band

In addition, her performance at Vibrato was backed by the sterling accompaniment of guitarists Jesse Harris (who also produced Blossom) and Anthony Wilson, bassist Lee Sklar (who performed on some of the original King and Taylor recordings), pianist Jon Gilutin and drummer Mike Shapiro.

However, Brecker’s determined effort — along with Jesse Harris, her producer — to remain close, in concept and arrangement, to the original King/Taylor versions tended to somewhat limit her expressive potential.  And I couldn’t help but wonder what she might have done with songs such as “You’ve Got A Friend,” “I Don’t Want To Be Lonely Tonight, ”So Far Away” and “You Can Close Your Eyes” had she viewed them through the prism of her own creativity.

Nor did her originals, which were unfamiliar items, always emerge with the clarity they deserved.  Brecker is a song writer with a promising future.  But in performance, she would be well advised, at this stage, to frame her songs with the sort of brief introduction that could help draw her listeners into the heart of her musical story telling.

All that said, it was nonetheless a real pleasure to hear Amanda Brecker’s undeniable talents up close and personal. Amid the crowds of arriving female jazz singers, she’s one of a kind.

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Amanda Brecker photo by Bobby Colomby.

Amanda Brecker Band photo by Faith Frenz.

Live Music: Dori Caymmi at a Jazz Bakery Movable Feast

By Cathy Segal-Garcia

Los Angeles, CA.  Here I am, sitting in the Kirk Douglas Theatre, waiting for the world-renowned guitarist/vocalist/composer/arranger/producer, Dori Caymmi, to come out to start the show. A beautiful theatre, slanted up seating, with a medium large stage on the floor, the newest and most intimate of Center Theatre Group’s family of theatres.

We scored a seat in the very front center, so I’m pretty turned on because I love being close to musicians.  Being a singer, I like to feel up close and personal, feeling like I’m actually part of the band.  There’s a stool in the center with an expectant mic, a piano and keyboard, a stool in the center back, and drums.  I’m excited!

The group, a quartet, comes out after an introduction from Jazz Bakery founder Ruth Price. Dori’s voice is at once beautiful and distinct.  A rich baritone, with depth of emotion that make my insides release.  Add that voice to a slow bossa beat, with subtleties of the rhythms and harmonies coming through the players…and it’s romantic and beautiful from the very first moment.

The music is harmonically leading and surprising, which is part of what makes it so amazing to listen to.  Within the same song, there are passages of different lengths, that are significantly different, but they relate and flow out of each other and into the next; like a river, running gently and endlessly, around rocks and curves, on and on.

The 2nd song showcased the pianist, Bill Cantos, singing his own keyboard solo… Wonderful!   Vocally exciting, and great musical ideas… motifs repeating and developing into an exciting build and gentle drop.

Dori Caymmi

A slow, painfully beautiful “Corcovado” was next.  How do the great Brazilian musicians create this gorgeous style, time and again?  Dori is having a love affair with the song, with the notes, the way they sit in the harmony, the Portuguese lyrics….

And yet right after, this sweetheart of a man makes a joke relating to his “depressed versions of Brazilian music,” before going into a mind blowing arrangement of “Brazil.”  I have never heard or imagined a more beautiful and interesting arrangement.  It took me at least  32 bars before I recognized it.  The form seemed different, the chords were definitely beautiful substitutions, and even the melody, sung and played by Dori at first, seemed only slightly familiar. At a slow, sensuous groove, with all the rest, it was truly a holy experience.

Jerry Watts on electric bass was a prominent part of the music.  A versatile and strong musician, in this setting, as each musician, he held his reins and released at just the right times.  Playing his bass like a guitar, his rhythmic choices seemed comfortable and perfect, even with their complexity.

The drummer Aaron Serfaty was unobtrusive in the best way, to say the least.  Percussive, as if adding to an orchestra, light and perfectly rhythmic on his small drum set

Dori , soon to be merely 70 (how lucky are we, to be able to hear him more) was relaxed and talkative in between songs…making the audience love him all the more.  He talked about his father and mother, Dorival Caymmi and Stella Maris, both famous Brazilian musicians.   And an upcoming recording project he will do with his sister (famous vocalist Nana Caymmi) and brother (famous musician Danilo Caymmi)…dedicated to their Dad.  Then he played one of his Dad’s hits …”Acontec Que Eu Sou Baiano.”   Dorival was known as “the poet of the seas of Bahia.”

It was difficult to make notes while I listened; the music was so touching to the soul and the ears that I didn’t want to be distracted from it.  And yet, when I’m excited by music, I want to write about it.

And speaking of making love to the songs…how about making love through the songs?  Like a good lover, the music and the musicians find a sensuous wonderful groove, lock into it, stroke it with notes and harmony until, building slowly and gradually, it’s obvious that it must release…

“The Harbor”…(sigh).  Dori told a beautiful and sad introduction about the music of his father…about how he would tell about seemingly simple things like stepping on pieces of wood in the water that led to the boats.  And how, now, there is no more of that; it’s all been commercialized.  Dori wrote “The Harbor” as an ode to the old way.

Brazilian musicians and singers tend to state the melody as written, milking it with the tone of the instrument and the emotion of the voice.  That’s why listeners fall in love with the basic songs, with their melody and harmony.  American jazz singers, however, learn that the songs of the Great American Songbook were written down very basically.  A singer learns them, then changes them – with the phrasing, the melody, the rhythm.  And I believe not even the composer expected or desired you to sing it as exactly as it was written.

One gets the idea that Brazilian composers want something else.  Or perhaps it’s the culture that leads the performing artists into this kind of musical perspective.  A perspective in which the language and flow of the story – via both the lyrics and the music — communicate deeply the imaginative tales of their rich history and culture.

I left the concert with a lovely CD, my soul filled with beauty, and a desire to sing with Dori.  The perfect response to a perfect musical evening.

To read more about Cathy Segal-Garcia on her own website, click HERE

Video of the Day: The Perpetuum Jazzile Choir Sings “Wave”

The Perpetuum Jazzile Choir from Slovenia is a superb ensemble of young singers whose repertoire reaches from jazz, pop and Swing to bossa nova, funk and gospel.  They’ve toured Europe, Canada and the U.S., performing the music of Jobim, the Beatles, Van Halen, Lady Gaga and beyond, usually done in rich a cappella harmonies and rhythms –- and always with striking musical authenticity.  Here they perform Jobim’s “Wave.”

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Thanks to Roger Crane for turning us on to this remarkable musical collective.  To see and hear more videos by Perpetuum Jazille click HERE.

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.

Picks of the Week: Jan. 15 – 20

By Don Heckman

Los Angeles

Eloise Laws

- Jan. 16. (Wed.)  Eloise Laws.  A member of the musically prominent Laws family (Hubert, Ronnie and Debra among others) Eloise Laws makes a rare live performance in the Southland.  Her warm and expressive vocals are backed by members of the Laws family and their talented friends.  Catalina Bar & Grill.   (323) 466-2210.

- Jan. 16. (Wed.) Windy Karigianes.  It’s a busy month for international jazz singers to make appearances in L.A.  Denmark’s superb vocal artist Sinne Eeg was here last week, Australia’s Chris McNulty is at Vitello’s tomorrow.  And today there’s Karigianes, whose background is Greek, Portuguese and Italian, bringing a musically diverse perspective to her mellow, evocative singing.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Jan 16. (Wed.)  John Beasley Residence II.  Pianist Beasley’s second event in his January residence features his trio – with bassist Carlitos del Puerto and drummer Gary Novak, plus guests — playing a program of Brazilian Music.  The Blue Whale.    (213) 620-0908.

- Jan. 17 & 18. (Thurs. & Fri.)  Chris McNulty.  Australian jazz singer McNulty celebrates the release of her latest CD, The Song That Sings You Here.  With guitarist Paul Bollenback and bassist Trey Henry.  Vitello’s.    (818) 769-0905.

Diane Schuur

- Jan. 17 – 19. (Thurs. – Sun.)  Diane Schuur.  Veteran jazz vocalist Schuur – called “Deedles” by friends and fans alike – continues to sing with the appealing, Sarah Vaughan influences that she has transformed into her own unique style. Catalina Bar & Grill.   (323) 466-2210.

- Jan. 18 – 19. (Fri. & Sat.)  Joey DeFrancesco Trio.  The master of contemporary jazz organ always has something new to bring to his classic organ trio performances.  He’ll perform with the Banda Brothers, Steve Cotter and Steve Wilkerson.  Steamer’s.  (714) 871-8800.

- Jan. 19. (Sat.)  Freddy Cole.  There’s an immediately recognizable trace of the Cole sound in Freddy’s vocals and piano work.  And he’s retained the musical memories while exploring new musical horizons. The  Kirk Douglas Theatre.  A Jazz Bakery Movable Feast.    (310) 271-9039.

- Jan. 20. (Sun.)   Bill Frisell and Vinicius Cantuaria.   A pair of very different guitarists with styles reaching from American folk to Brazilian rhythms perform selections from their 2012 album, Lagrimas Mexicanas.  Skirball Center.     (310) 440-4500.

John Daversa

- Jan. 20. (Sun.)  The John Daversa Contemporary Big Band.  Trumpeter/composer Daversa, a true musicall adventurer – as a soloist and as a writer/composer – showcases some of his especially ground-breaking writing for his stellar big band.  Baked Potato.    (818) 980-1615.

San Francisco

- Jan. 19 & 20. (Sat. & Sun.) Jane Monheit. She’s always had a gorgeous voice, but Monheit – now in her ‘30s – also brings a compelling musicality to everything she sings.  Click HERE to read a recent iRoM review of a Monheit performance in Los Angeles. Yoshi’s Oakland.    (510) 238-9200.

New York

- Jan. 15. (Tues.)  Tammy Faye Starlight IS Nico in the show Chelsea Madchen, singing legendary Velvet Underground songs in a Warhol-tinged setting.  Special guest: Steve Earle.  The Cutting Room.  k  (212) (877) 987-6487.

Ken Peplowski

- Jan. 15 – 20.  (Tues. – Sun.)  Benny Goodman Reinvented: 75^th Anniversary Carnegie Hall Concert.  Clarinetist Ken Peplowski assembles a 10 piece all-star ensemble to revisit Goodman’s memorable Swing Era performance in January, 1938. The Blue Note.  (212) 475-8592.

- Jan. 16. (Wed.) Ornette Coleman’s Free Jazz Revisited.  Anther live, musical re-imagining performance.  This time the subject is one of the classic recordings of the ‘60s free-jazz era.  Players include  Jaleel Shaw, Joe Lovano, saxophones; Jeremy Pelt, Tim Hagans, trumpets, Ben Allison, Lonnie Plaxico, basses, Billy Drummond, Matt Wilson, drums.  Jazz Standard.    (212) 576-2561.

London

- Jan. 16 – 19. (Wed. – Sat.) Deodato.  Brazilian pianist/composer/arranger has produced and/or arranged hundreds of albums for everyone from Bjork to k.d. lang.  Here’s a rare opportunity to hear him up close in his own personal musical environment.  Ronnie Scott’s.    +44 (0)20 7439 0747.

Berlin

Steve Kuhn

- Jan. 14 & 15. (Mon. & Tues.)  Steve Kuhn Trio.  With a resume that reaches back to John Coltrane and the avant-garde ‘60s, Kuhn – at 74 – has thoroughly established himself as one of the contemporary jazz scene’s most original piano voices.  His trio includes Buster Williams and Joey Baron.  A-Trane.   030/313 25 50.

Panama

- Jan. 14 – 19.  Panama Jazz Festival.  The 10^th Annual Panama Jazz Festival once again assembles a stellar line up of performers in a warm and welcoming Central American setting.  The artist roster includes Herbie Hancock, the Wayne Shorter Quartet, Ruben Blades, Susana Baca, Bill Frisell, John Patitucci, Brian Blade and Danilo Perez.  The Panama Jazz Festival.    (507) 317-1466.