Live Music: Bill Cantos, Mari Falcone, Alan Bergman and Lillias White in a Society of Singers Program at Café Cordial

By Don Heckman

When the Society of Singers  (often referred to with the appropriate abbreviation S.O.S.) has a performance program it can best be described as a win-win event.  A winner in the sense that it raises funds for the S.O.S programs providing financial support for singers in need.  And a winner in the sense that audiences at S.O.S. events always experience programs of appealing musicality.

Which was exactly what happened at Café Cordial Monday night, when an enthusiastic turnout of S.O.S. supporters was entertained by the stellar line up of Alan Bergman, Bill Cantos & Mari Falcone and Lillias White.

Bill Cantos

Pianist/singer/songwriter Cantos was the emcee, the primary accompanist, and a performer in his own right for most of the evening.  As humorously entertaining as he was musically versatile, he assembled and managed an evening filled with songs.

Many came from his own growing catalog of works, others were provided by the always engaging Alan Bergman.  And at least one tune –- the whimsical “Everybody’s On the Phone” – was co-written by Cantos with Alan and Marilyn Bergman.

The program kicked off with Cantos’ “Morning Coffee,” followed by his “Sensibility” and “Who Are You?” Each song was delivered with the convincing, story-telling qualities and delightful humor that Cantos brings to his performances.  Add to that his far-ranging musicality, often scatting in unison with his piano lines, sometimes humming back-up counterpoint lines to his melodies.

Alan Bergman

Up next, Bergman offered one of his typically irresistible performances.  Hearing a songwriter sing his/her own songs is always an insightful experience.  But never more so than with Bergman, who is, in addition to his songwriting partnership with his wife, Marilyn, also a convincing singer in his own right.

Before he started, he offered one of his familiar nuggets of background on the art of writing song lyrics, noting that “the words are on the tips of the notes, and we have to find them.”  And then he proceeded to prove his point with his versions of “The Windmills of Your Mind” and “You Must Believe in Spring” (both classics written with Michel Legrand) and  “That Face” (written by Alan as a successful marriage proposal to Marilyn).

Lillias White

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Tony Award-winning Broadway star Lillias White then joined the Cantos trio for a jaunty, soulful group of numbers.  Beginning with Canto’s “You Got Me” she followed with a hilariously rocking “I Want A Big Fat Daddy” and the lyrical “Love Wins.”

Mari Falcone and Bill Cantos

The evening was topped off by Cantos and his wife, pianist Mari Falcone.  Interacting musically, sharing the keyboard on their electric piano, they offered delightful renderings of Cantos’ “Perfect Day” and “Smoke and Mirrors,” along with a climactic “I’ve Got Plenty of Nothing.”

Call it a musical evening in which everything went right, from the quality of the performances to the support for the Society of Singers.  All of which provided plenty of good reasons – musical and otherwise — to show up for the next S.O.S. program.

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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 Music: Michael Feinstein at the Valley Performing Arts Center

By Don Heckman

Northridge, CA. One of the first times (and there were many) that I reviewed a Michael Feinstein performance was in 1991 for the Los Angeles Times. I described him then as a “reincarnation of a classic movie juvenile lead. Slicked-back Dick Powell hair, flashing Russ Columbo eyes, a smile that would charm the Sphinx.”

Twenty two years later, Feinstein – now 56 – could still come pretty close to that image of the movie juvenile lead. When he strolled on stage Saturday night at the Valley Performing Arts Center, slender and full of vitality, his warm smile gleaming, he was still as dynamic and vital as he was two decades ago.

Michael Feinstein

In the interim, of course, Feinstein has thoroughly established himself as one of the prime devoted caretakers of American popular song. His archivist’s dedication to preserving the classic works of Gershwin, Kern, Porter, Berlin, Mercer and so many others has continued to grow over the years. And, equally important, he has personally taken on the challenge of keeping those works alive in performance.

Feinstein has always been a fine singer/pianist, the high quality of his abilities apparent even in his early, cabaret performances in the ’80s at the Cinegrill. But his appearance at VPAC was the work of a mature, masterful performing artist. Far more than simply singing the classics from the Great American Songbook, Feinstein was as informative as he was entertaining.

Each song was introduced with background information about the composer and/or lyricist, often with whimsical stories about the circumstances behind the creation of the song. Many of Feinstein’s comments traced to his personal associations with the songwriters. One example: his long term friendship with Ira Gershwin, tracing to a period when he worked as Gershwin’s personal assistant. That connection was the starting point for Feinstein’s recently published book, The Gershwins and Me (Simon & Schuster).

Michael Feinstein

Celebrating his Gershwin linkage, he sang a superb medley of Gershwin songs – including “Of Thee I Sing,” “S’Wonderful,” “Embraceable You,” “Our Love Is Here To Stay” and “Someone To Watch Over Me.”

The rest of the program was a banquet of musical goodies. Since it was May 11, Irving Berlin’s birthday, Feinstein did a marvelously hard-swinging “Alexander’s Ragtime Band.” On “Hello, Dolly” he offered a loving simulation of Louis Armstrong’s gravelly voice, recalling one of the song’s most unique interpretations. On “Fly Me To The Moon,” he referred to the desire of Bart Howard, the songwriter, to hear it in his original conception of it as a waltz, rather than the rhythmically upbeat version by Frank Sinatra. And Feinstein, with the aid of guitarist Jim Fox, found the deep, lyrical center of the tune. He chose to cast “The Way You Look Tonight” as a bossa nova, and recalled Sammy Davis, Jr. with an atmospheric rendering of “What Kind of Fool Am I?”

There was much more. Songs such as “Shall We Dance” (sung with the verse), “Put On A Happy Face,” “Just One Of Those Things” and “At Long Last Love,” among others.  All of it brilliantly arranged by pianist/music director Sam Kriger.

It was, in other words, a delightful musical evening on all counts. And it was topped off with the additional good news that Feinstein will be spending more performance time in the Southland in coming months. He has been appointed Principal Pops Conductor of the Pasadena POPS, replacing the late Marvin Hamlisch. Feinstein’s first program with the Pops takes place on June 1.

Get your tickets now. Click HERE for information.

Live Music: Emily Bear in a Jazz Bakery Movable Feast at the Musician’s Institute.

By Don Heckman

“I just do it.”  That was the brief comment I received from young pianist/composer Emily Bear when I spoke to her after her Wednesday night performance at the Musicians’ Institute.

Four little words.  In response to my query about her orchestral composition “Santa Fe.”  How, I wondered, had she developed the skills to write so authoritatively for a full symphonic orchestra.

And she replied, “I just do it.”

Emily Bear

Which is probably the response that this remarkable eleven year old prodigy would have to all the other impressive accomplishments she has had with her music.

In case you haven’t been watching the Ellen DeGeneres Show lately, or haven’t stumbled upon her numerous film clips on YouTube, you may not be too sure about who Emily Bear is.  Suffice to say that she’s been receiving a lot of attention, with good reason.

Displaying musical talent on the piano at the age of two, she began to compose a year later.  At six, she performed at the White House, and she guested on the DeGeneres Show six times.  As she got older, her skills reached from pop and jazz and rock to classical music, often via performances with a full orchestra, performing in venues in the U.S. and Europe.

Emily Bear and Quincy Jones

Quincy Jones was so impressed when he heard Emily in action that he immediately made a deal to take over management of her career.

“She is the complete 360-degree package,” says Quincy, “and there are no limits to the musical heights that she can reach.”

All of which was amply clear in her Jazz Bakery performance.  In a single, hour and half set, she offered a sequence of all original works, performing with bassist Peter Slavov, drummer Kevin Kanner and, on a few works, cellist Zuill Bailey.

Emily Bear

The music covered a gamut of styles: lyrical, adagio-like classical melodies; briskly swinging bebop lines; an atmospheric flamenco-styled piece; some rhythmically energizing salsa; a theme that could easily have been the principal melody in an Italian film; and much more.

All of it was delivered in Emily’s warm engaging style, clearly enraptured within the music, communicating her creative intensity to the other players with captivating smiles and gestures.

Watching and listening to the utter musical authenticity of her playing, I couldn’t help but recall another illuminating remark from Emily, one that perfectly illustrates the creative reality of this impressive young artist:  “I have so much music in my heart,” she says, “that it just falls out.”

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Emily’s latest recording, Diversity(Concord/Qwest Records), was produced by Quincy Jones.  Her seventh album, it includes much of the material presented at the Jazz Bakery performance.  It’s the perfect introduction to the work of a very gifted, very young woman with – as Quincy has pointed out – “no limits to the heights she can reach.”

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Photos by Faith Frenz.

Live Jazz: The Playboy Jazz Festival Free Community Concert with Antonio Fargas and the New Jump Blues Band

By Don Heckman

The ramping up to the 35^th annual Playboy Jazz Festival in mid-June got under way with a high spirited kick-off Sunday afternoon at the Beverly Hills Civic Center.  The event, the first of two Playboy free community concerts, featured performances by Antonio Fargas and the New Jump Blues Band and the Beverly Hills High School Jazz Band.

The far-reaching range of music was characteristic of the sort of diversity we have come to expect from Playboy jazz programs.

Fargas, who may be best known from his long run as the character “Huggy Bear” in the ‘70s television series Starsky and Hutch, is also an engagingly dynamic music performer, the sparkplug energizing each of the set’s tunes.

Antonio Fargas and the New Jump Blues Band

Fargas and the New Jump Blues Band, with three electrifying singer/dancers — Adrian Battle, Airreal Watkins and Malakhi Eason — three horns and a four piece rhythm section, are reviving the urban blues styles of such ‘40s artists as Louis Jordan, T-Bone Walker, Jack McVea, Earl Bostic and others.  Rooted in the Swing bands of the thirties, enlivened by the blues, it evolved into one of the great pop music styles.

The New Jump Blues Band

And in the voices, feet and hands of the New Jump Blues Band, it came vividly to life.  Their opening number immediately showcased the essence of their art with fast-stepping choreography and rapid-fire vocals.  The songs were classics from the jump blues era: “All She Wants To Do Is Mambo,” “Cow Cow Boogie,” “One Mint Julip,” “Rum and Coca-Cola,” “Good Rockin’ Daddy,” “Sugar Bum Bum” and more.

Antonio Fargas and Airreal Watkins

Each piece was presented as a choreographed musical story, sometimes – as on “Mama, He Treats Your Daughter Mean” — with back and forth dialogue interspersed with a song.  And at other times – as on the lyrical “Since I Fell For You” — with dance moves illuminating a song’s inner story.

By the time the New Jump Blues Band polished off their set, one couldn’t help but wonder why they haven’t been booked for the Playboy Jazz Festival itself.  Their irresistible rhythmic charge and all-encompassing musical excitement seemed precisely tuned to the conga-line, dance-in-the-aisles excitement that always seems to surface at the Festival around the six o’clock hour.

But if it’s too late in the scheduling process for the New Jump Blues Band to be included on the 2013 program, they should be added to the list now for next year’s Festival.

The opening set by the young players of the Beverly Hills High School Jazz Band, led by Bob Bradbury, was delivered with enthusiasm and a real love of jazz.  At its best, it offered convincing evidence of the value flowing from Playboy’s continuing presentation of high school bands at every Festival program.

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Photos by Faith Frenz.

 

 

Live Music: Deana Martin at Vitello’s

By Don Heckman

Studio City, CA.  Second, even third, generation careers in show business aren’t exactly uncommon in the entertainment world.  And singer Deana Martin’s name alone indicates a legacy powerful enough to open the right doors.

But Martin, who began a three night run at Vitello’s on Friday night, has the skills to build a career on, regardless of her lineage.

That said, however, she titled this presentation – which she’s been doing in locations across the country –  “Deana Sings Dino” honoring her father, “The King of Cool”  And she was introduced from the stage, by her father’s video announcement.

Deana Martin

She further underscored the connection by performing such songs identified with Dean Martin as  “Memories Are Made of This,” “That’s Amore,” ”You’re Nobody Til Somebody Loves You,” “Ain’t That A Kick in the Head,” “Everybody Loves Somebody” and “Volare.”  And she topped off the paternal references with a video duet on “True Love” that included a fascinating montage and photos of Martin family life.

Inevitably, one couldn’t help but listen to Deana’s interpretations with distant, but recurring, memories of how they were sung by her father.  Memories that were further revived by the arrangements played by her world class group – led by pianist and music director John Proulx, and featuring bassist Chuck Berghofer and guitarist John Chiodini.  Often emphasizing a gently swinging groove, the charts were reminiscent of those used by Dean Martin, Frank Sinatra and the other partners in the Rat Pack.

John Proulx and Deana Martin

Add to that Deana’s amiable and laid back manner in her between songs commentaries.  Quick jokes came one after the other, interspersed with personal recollections of Dean Martin and such Rat Pack “uncles” as Sinatra and Sammy Davis, Jr.

Observing her father and the “uncles” in action as she grew up in a show biz environment, Deana has clearly mastered all the entertainment elements that work for her as a performing artist.  To her credit – and unlike some of the singers in her generation – her performance overflowed with the confident, communicative manner of an utterly engaging entertainer.

Beyond all the legacy elements emphasized by the “Deana Sings Dino” aspects of the performance, there was the appealing musicality and interpretive lyricism present in everything she sang – nostalgic or otherwise.  In songs such as “Beyond the Sea,” “The Lady Is A Tramp” and “I’d Love To Get You On A Slow Boat To China,” she displayed the very special qualities that are uniquely her own.

And one suspects that Dean Martin, had he been present at Vitello’s, would have been proud of the fine, convincingly imaginative artist that his daughter has become.

Deana Martin and “Deana Sings Dino” continues at Vitello’s tonight.

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Photos by Bob Barry. 

Live Music: Rita Coolidge at Catalina Bar & Grill

By Don Heckman

Hollywood, CA. There was a distinct feeling of time warp in the air Friday night during Rita Coolidge’s performance at Catalina Bar & Grill.  “Nostalgia” couldn’t quite describe the experience of hearing her embracing voice singing “Superstar,” “Born Under A Bad Sign,” “You’re Love Takes Me Higher,” and more.

Rita Coolidge

I first heard Coolidge in the very early ‘70s, when I reviewed her for the New York Times.  Can’t remember if it was at the Bitter End or the Village Gate, but I do recall Kris Kristofferson coming on stage and dueting with her in very intimate fashion.  I’m guessing it was during the romantic build up to their marriage in 1973.

Rita Coolidge and Lynn Colter

Nothing like that took place in her performance at Catalina’s.  Except, that is, for a cozy duet that Coolidge sang with her drummer, Lynn Coulter, on “Baby, It’s Cold Outside.  Not exactly the song one would expect on a warm spring night in Hollywood, but well done, nonetheless.

Beyond the time warp (and the nostalgia) Coolidge offered a memorable set of tunes that included a standard or two, as well as the ‘70s songs most closely associated with her early career.  She opened her set, in fact, with “Come Rain or Come Shine,” sung with gentle rhythms and the sort of warm, communicative musical story telling that is at the heart of her interpretive style.

Describing her affection for Peggy Lee’s singing and songwriting, Coolidge also included such Lee-associated classics as “I Don’t Know Enough About You” and the incomparable “Fever,” delivered with a distinct rock edge from her versatile four piece band.

Rita Coolidge and Her Band

Other tunes, tracing to different periods in her career, demanded different approaches, and Coolidge handled them all with ease.  Among them: Allen Toussaint’s “Basic Lady”; a version of “Amazing Grace” (sung in the Cherokee language) that she described as a song she heard in her Cherokee childhood; “We’re All Alone”; I”d Rather Leave”; and “How Sweet It Is.”

There were more high points, all of them the product of the warm, engaging professional entertainer Coolidge has become in her mature years. She has, after all, had hits on the pop, country, adult contemporary and jazz charts.

And what made this evening special was the seamless way in which Coolidge moved from one style to another, from one song to another, while maintaining the stylistic integrity of each.  The “Delta Lady” described by Leon Russell in the song he wrote for her, has been transformed into an interpretive musical artist of the first rank.

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Rita Coolidge photo by Bob Barry.

Rita Coolidge and Lynn Colter photo, and Rita Coolidge band photo by Faith Frenz.

Live Jazz: Cat Conner’s “Birthday Bash” at Vitello’s

By Don Heckman

Jazz singer Cat Conner gave a birthday party to remember at Vitello’s Thursday night.  Actually, a “Birthday Bash,” as she described it, in which she and her close friend, Lee Hartley, sang their way through a delightful evening of song.

Christian Jacob. Cat Conner, Chuck Berghofer

Cat Conner

Backed by the stellar trio of pianist Christian Jacob, bassist Chuck Berghofer and drummer Ray Brinker, with creative contributions from saxophonist/clarinetist Gene “Cip” Ciprano, Conner and Hartley were clearly enjoying each of the numbers they sang in a nearly two hour program.

After the trio’s opening romp through “Stella By Starlight,” Conner dug into a jaunty “What A Little Moonlight Can Do,” following it with “You Stepped Out Of A Dream” and Dave Frishberg’s whimsical blues, “I Can’t Take You Nowhere” (which she dedicated to her mother.)  Here, as elsewhere, Conner displayed her warm, intimate way with a song.

Cat Conner and Lee Hartley

Hartley, an impressive jazz artist in her own right, added her gently swinging “I Love Being Here With You” and an original song inspired by Nat “King” Cole.

There was much more to come, including “My Wish For You,” an intriguing version of a lovely Luis Bonfa melody from the film, Black Orpheus, with lyrics by Peggy Lee.  And a romp through “Mr. P.C.” featuring Berghofer’s articulate soloing.  Along with the occasional pairing of Conner and Hartley on tunes such as “I Mean You” and a lyrically revised “Girl Talk.”

Cat Conner, Gene “Cip” Cipriano and Lee Hartley

Cipriano, playing clarinet (and calling up images of Artie Shaw), joined Conner and the rhythm section to duet on “Moonglow” and “Squeeze Me.”  Conner was also especially on target, continuing to focus on her musical storytelling via warm interpretations of “How Deep is The Ocean?” and “Embraceable You.”  She wound up the celebration with a high spirited romp through Sonny Rollins’ “St. Thomsas.”

The birthday party climaxed with, appropriately, some birthday cake, and a lot of celebratory hugs between Conner and her listeners, most of whom seemed to be close friends and musical acquaintances.

Which wasn’t exactly what one expects from a mid-week gig.  But on this enjoyable evening, Conner, Hartley and their back-up trio found all the pleasant linkages between the music and the birthday celebration.  And, as oten happens at Vitello’s, the performance had the relaxed feeling of a living room jam session among close friends.

No wonder Cat was smiling for most of this night to remember.

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Photos by Faith Frenz.

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.

Live Jazz: A Tribute to Bill Henderson at Catalina Bar & Grill

By Don Heckman

Hollywood, CA.  The line waiting to get in to Catalina Bar & Grill at 7:30 Thursday night stretched all the way back to the jazz venue’s nearby garage.  And it was moving slowly.  But there was no sign of anyone leaving.  Not for this performance.  Not with a stellar assemblage of talented performers awaiting their turns to celebrate the remarkable life and musical accomplishments of veteran singer/actor Bill Henderson.

Bill Henderson

And the anticipation was enhanced by the awareness that the 87 year old Henderson was already in the club, surrounded by friends, waiting for the music to begin.

Before the live entertainment began, however, the full house audience was treated to a video documentary.  Produced by Merle Kreibich, the video chronicled the remarkable Henderson career – as a singer and an actor whose impressive talents were apparent even in the black and white images of his youthful appearances on film and recordings.

But the live show was the heart of the evening, a  procession of singers and musicians, all eager to offer their own unique tributes to Henderson. Here’s the line up:

Melissa Morgan

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First up: singer Melissa Morgan offering soul styled renditions of ‘Sleeping Bee” and “Accentuate the Positive.”  Filled with energy and spunk, she got the evening underway with a hard driving take off.

Denise Donatelli

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Next: Denise Donatelli applied her warm, embracing  voice and intimate story-telling to a contrasting pair of appealing tunes, “Social Call” and “Skylark.” Donatelli can do no wrong as an interpretive vocalist.  And her reading of the Mercer/Carmichael standard was one of the evening’s memorable highlights.

Billy Valentine’s two songs – “I’ve Got A Woman” and “You Don’t Know Me” – delivered with convincing intensity – were reminders of the blues roots in Henderson’s music.

The musical emphasis shifted dramatically with the arrival on stage of Finis Henderson, Bill Henderson’s nephew.  Offering a soaring, musically dramatic interpretation of Puccini’s tenor aria “Nessun Dorma” from the opera Turandot, he affirmed the diverse musical talent in the Henderson genes.

Janis Mann

Jazz singer Janis Mann added her soaring, Sarah Vaughan influenced style to a diverse pair of tunes, moving from the rhythmic groove of “Old Devil Moon” to the lyricism of  “You Taught My Heart To Sing.”  She was backed by Eric Reed, ably replacing Mike Lang in the piano chair.

Mark Winkler was up next, enjoying every minute of his delightful encounter with Bobby Troup’s “I’m Such A Hungry Man,” and wrapping his solo set with a selection from his new album of Laura Nyro songs.

Mark Winkler and Cheryl Bentyne

Before he left the stage, however, he was joined by Cheryl Bentyne, pairing up on a joyous romp through Paul Desmond’s “Take Five.”

Kenny Burrell

Next, in the evening’s highlight instrumental set, veteran guitarist Kenny Burrell showcased his always appealing blend of rhythmic swing and melodic tenderness with a .  warm take on “It Might As Well Be Spring.”

Ernie Andrews

Appropriately, the non-stop music reached a climax with the arrival on stage of the inimitable Ernie Andrews.  Two years younger than Henderson, but very much the same generation, Andrews recalled an era in which jazz artists were not embarrassed to reach out to their audiences in entertaining fashion.  His jaunty versions of “Time After Time” and “All Blues” were the perfect climax for a memorable musical tribute.

Live performance photos by Faith Frenz.