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: 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: Cheryl Bentyne at Vitello’s

By Don Heckman

Studio City, CA.  The stage setting for Cheryl Bentyne’s performance at Vitello’s Friday night seemed surprisingly spare.  An acoustic bass and a music stand on the left, a pair of guitars and a music stand on the right, and a stool and a vocal mic in the middle.

That was it.  “Up Close & Personal” was the title Cheryl gave her performance.  And it was right on target: Kevin Axt on bass, Wayne Johnson on guitar, and Cheryl in the center. No drums, no piano, no horns.  None of which were needed in two sets of exquisite songs performed with intimate lyrical and musical clarity.  One couldn’t have asked for more.

A multiple Grammy-winning member of the Manhattan Transfer, Cheryl has long been drawn to a far-ranging collection of material, with the Transfer, as well as her superb solo performances.  And on this magical evening, her choices combined to illuminate a gallery of what might best be described as contemporary art song.

Several familiar standards – “Love For Sale,” “I’m A Fool To Want You” and “It Might As Well Be Spring” — book-ended the evening with Cheryl’s convincing interpretations.

Her versatility surfaced with more pop oriented songs from Nelly MacKay, k.d. lang, Lennon & McCartney, Leonard Cohen, Melody Gardot and Patricia Barber.  And Cheryl displayed her jazz perspectives with Horace Silver’s “Senor Blues,” Matt Dennis’ “Angel Eyes” and Landesman/Wolf’s “Spring Can Really Hang You Up The Most.”

As if that wasn’t a fully adequate expression of her versatility, Cheryl also included several lush film melodies by Ennio Morriconne, enhanced by her own lyrics.

Kevin Axt, Cheryl Bentyne and Wayne Johnson

Each tune was supported – often in brilliantly spontaneous fashion – by the stirring contributions of Axt and Johnson.  And, in addition to their keenly balanced backing, they offered inventive solo passages.

Ultimately, of course, even the most appealing program of songs – no matter how eclectic – calls for convincing vocal interpretations.  And Cheryl’s readings, with their rich musicality, reached into the inner heart of everything she sang.

She is, seemingly by nature as well as skill, a dramatic performing artist.  Whether she was swinging her way through “Senor Blues,” capturing the deep intimacies of the Cohen and Barber songs, as well as her Morriconne collaborations, or telling her sometimes jocular between-songs remarks, she was utterly captivating.

By the time Cheryl concluded the long embraces of her two sets of songs, the only thing missing was perhaps another word to add to the program’s title.  It might more accurately have said “Up Close, Musical & Personal.”

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Photos by Faith Frenz.

Live Jazz: Charmaine Clamor at Catalina Bar & Grill

By Don Heckman

It’s been a few years since I first reviewed jazz singer Charmaine Clamor.  I was powerfully impressed by what I heard on her debut CD, Searching For the Soul..  And I was even more impressed by what I heard in her performance at Catalina Bar & Grill on Sunday night.

The presentation was titled “Hallelujah! A Celebration of Rebirth and Renewal,” an appropriate label for an Easter Sunday event, further underscored by Charmaine’s parallel work as a physical therapist.  The mesmerizing quality of her Catalina performance, however, suggested that her evolutionary growth as a singer is probably not going to allow much time for anything other than the expansion of her career as a musical artist.

Everything was right about this program, starting with Charmaine’s singing. Over the course of the few years in which I’ve heard her perform, there’s been a continuing interpretive growth.  Early on, she was closely identified with a blend of jazz and Filipino traditional music, earning the title the Queen of Jazzipino music.

As intriguing as that material may have been, Charmaine brought much more to the stage this time around.  Her eclectic program of songs began with a distinct gospel touch via Ethel Waters’ hit, “His Eye Is On the Sparrow” and Duke Ellington’s “Come Sunday,” following up with Leonard Cohen’s “Hallelujah.”  She sang each in authoritative fashion, without resorting into an overflow of too-familiar melismatic phrasing.

Charmaine was equally convincing with the old standard, “’Til There Was You,” the Italian classic “Estate,” “I Believe In Love” (based on Joshua Redman’s “Wish” with lyrics by Eli Brueggemann), a jaunty romp through “Pick Yourself Up” and a dramatically climactic “Here’s To Life.”  Add to that some of her original items and one couldn’t have asked for a broader, more engaging set of songs.

She delivered them with stunning effectiveness, balancing the lush timbres of her voice with the dramatic gestures and gripping expressiveness of a born musical story-teller.  And it didn’t hurt that Charmaine is a gorgeous woman, enhancing her slender appeal in a shimmering gold gown.

She was ably aided by the steady, solid support of her musicians: pianist Andy Langham, bassist Dominic Thiroux and drummer Abe Lagrimas.  Responding with near empathic back-up, subtly flowing in sync with her confident musicality and her rich, emotional qualities, the trio provided an encompassing musical embrace for an artist whose career is clearly heading skyward.

Expect much more from Charmaine Clamor (and let’s hope the Grammy voters are paying attention).

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Photos by Faith Frenz. 

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 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.

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 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