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: Rudresh Mahanthappa with Indo-Pak Coalition and Gamak at Royce Hall

By Don Heckman

At first glance, Saturday night seemed to offer one of the intriguing jazz events of the season: alto saxophonist Rudresh Mahanthappa appearing with his groups Indo-Pak Coalition and Gamak in a CAP UCLA concert at Royce Hall.  Over the past decade, Mahanthappa, a second generation Indian American, has received significant recognition from the Down Beat Critics Poll and the Jazz Journalists Association, as well as grants from the Guggenheim foundation and the New York Council on the Arts.

His West Coast appearances have been rare.  But anyone who’s dipped into Manhanthappa’s numerous far-ranging, eclectic recordings – as a leader and a sideman – had a fair idea of what to expect at Saturday’s performance.

Rudresh Mahanthappa

Even so, his first soloing with his Indo-Pak Coalition ensemble – a trio consisting of Mahanthappa, Pakistani guitarist Rez Abbasi and American drummer Dan Weiss – had a startling impact.  The alto saxophone is almost never heard as an instrument of Carnatic music.  One of its pioneers in that genre is Kadri Gopalnath, who partnered with Mahanthappa in the crossover 2008 album, Kinsmen. Both have found ways – perhaps using softer reeds – to bend pitches to the semi-tonal demands of Indian ragas.  And Mahanthappa’s playing began from a close Carnatic perspective filled with bright slashes of jazz lighting, enhanced by Weiss’s extraordinary rhythmic mobility as he moved from a standard drum kit to tabla drums.

The rest of Mahanthappa’s set with the Indo-Pak Coalition moved easily across boundary lines.  His alto saxophone solos, which dominated much of the entire performance, expanded its Carnatic aspects into something resembling the free jazz saxophone methods of the ‘60s associated with Ornette Coleman, Eric Dolphy and John Coltrane, among others.

In the second half of the program, Mahanthappa performed with Gamak, which also included bassist Francois Moutin, guitarist David Fiuczynski and Weiss, who played drum set, without the tabla drums. The genre scale weighed more heavily in the direction of jazz and jazz-rock with this ensemble.  And, although Mahanthappa reigned at center stage, the powerful guitar of Fiucznski played a vital role in every selection, often enhanced by dynamic duo exchanges between various members of the group – especially those between Fiucznski and Mahanthappa.

At its best, the music showcased a compelling interaction between East and West, finding the common linkages while maintaining firm contact with each genre.

In its less appealing moments, virtuosity appeared to be the prime goal, especially for Mahanthappa, who displayed extraordinary technique.  Often the fast fingers, multi-phonics and semi-tonal melodic phrases were fascinating, especially to other musicians.

Ultimately, however, he clearly authenticated why he has received so much attention from the jazz media and jazz support groups, becoming one of the most compelling saxophonists of his generation.  But, in this performance at least, one couldn’t help but wonder where, and whom, the real Mahanthappa was, amid the surging rhythms, Indian references and blurring bundles of notes.

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

Picks of the Week: Feb. 5 – 10

By Don Heckman

Los Angeles 

Sally Kellerman

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

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

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

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

Wayne Shorter

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

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

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

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

San Francisco

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

Washington D.C.

Joshua Redman

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

New York City

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

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

Paris

Marianne Faithfull

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

Copenhagen

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

Milan

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

Tokyo

Monty Alexander

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

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

A Twist of Doc: The 2013 NAMM Convention Performance Highlights

 By Devon “Doc” Wendell

The 2013 NAMM (National Association Of Music Merchants) convention took place in Anaheim California between Thursday, January 24^th and Sunday, January 27^th. Despite throngs of inebriated metal heads roaming the Anaheim streets, instrument booths in the convention hall, and thousands of music merchants packed into the Anaheim Convention center like sardines, there were several stellar musical performances by some legendary names and innovators in the music industry, especially in the jazz and blues categories.

Here are some of 2013 NAMM’s many concert highlights:

On Friday night, Hammond Organ presented its two-plus hour “Hammond Soul Summit” Concert at The Anaheim Marriot, which featured some of the instrument’s greatest and most influential practitioners.

Dr. Lonnie Smith

Kicking off the show was the legendary jazz and funk Hammond B3 pioneer, Dr. Lonnie Smith performing with the incredible Chester Thompson (Tower Of Power and Santana) and Larry Goldings (Al Jarreau, Maceo Parker, John Mayer).  The three organ titans performed a loose and funky rendition of Smith’s classic “Keep Talkin’.”  Backed by a dynamic rhythm section (Jay Didimo on drums and Jack Maher on electric guitar), Smith and Thompson began swapping bluesy organ licks, trying to upstage one another, pushing the exchanges to ecstatic heights. The energy was electric and took the predominately rock loving NAMM audience back to school. Goldings soloed on an acoustic piano preset on his electric keyboard, playing jazz-fueled gospel chops while Thompson and Smith comped rhythm changes and walking organ bass lines behind him. Unfortunately, they were only allotted time to play one number.

Marty Grebb

Up next, Marty Grebb (Bonnie Raitt, Eric Clapton, Etta James) took the stage, backed by some of the greatest session players in the world (Reggie McBride on bass and Alvino Bennett on drums) with special guest, 12 year old blues guitar virtuoso, Ray Goren.  After a Jimmy Smith-esque blues shuffle showcasing the young Goren’s fiery electric blues guitar runs and Grebb’s down-home B3 style, another guest was introduced — Marty Grebb’s old musical partner from the Buckinghams,  Dennis Tuffano, on vocals.  Together, Tuffano and Grebb sang The Buckinghams’ 1967 hit “Mercy, Mercy, Mercy.”

Though it was hard for Tuffano to come close to topping Grebb’s soulful, Ray Charles- inspired vocals, he proved to still have the fire. This was the most nostalgic and exciting moment of the convention. Goren played some tasteful B.B. King style licks with the maturity of a musician 3 times his age, proving that he’s definitely someone to watch out for.

Larry Goldings

Larry Goldings returned to the stage with his trio (Jack Maher: guitar, Jay Didimo: drums), performing a brilliantly original arrangement of the Sonny Rollins classic “Doxy.” Golding’s imagination, fluidity, and inspiring skills incorporated many of Rollins’ saxophone lines in his organ solo and made it look easy.

Although many hard-rock acts dominated the main stage throughout the convention, Nick Smith And Friends performed a set of pure jazz at 4:00pm on Saturday.  Tonight Show keyboardist Smith was joined by an all-star band consisting of Marvin “Smitty” Smith: drums, Cory Jacobs: keyboard, Trevor Ware: Upright bass, James Manning: Electric bass, Antonio Julius: trumpet, Ray Fuller: guitar, and Kamasi Washington on tenor sax.

Nick Smith

Performing a set of hard-bop originals such as “Alternative Way,” “Slow But Surely” (a masterful tribute to Thelonious Monk), and “Tony Williams” (a salute to jazz drum legend Tony Williams), Nick Smith And Friends proved to be one of the most consistently brilliant jazz bands around today.  Amazingly (believe it or not), Nick Smith played with the syncopation and humor of Monk and virtuosic energy and fluidity of McCoy Tyner in what I can already predict will be among my top ten performances of 2013. Marvin “Smitty” Smith’s bombastic drumming pushed the entire band to play beyond their comfort zone, which is what true improvised jazz is all about. And Kamasi Washington’s playing brought to mind the adventurous spirit of a young Wayne Shorter or mid-60s Joe Henderson.

Even the band’s final tune, “Yeah” (which was a slight venture into funk/fusion) felt fresh and fun without the typical clichés of those genres. Nick Smith And Friends’ too short set was filled with an understanding and love of the history of hard-bop, modal jazz, with just a hint of fusion.  Later that evening Muriel Anderson’s “All Star Guitar Night” was presented by Yamaha guitars, and a benefit and silent auction for The Music For Life Alliance took place at The Anaheim Marriot’s Platinum Ballroom.

Though the big name acts like Stanley Jordan, Robben Ford (who received The Guitar Player Certified Legend award at the event) and host and performer Muriel Anderson were the big name draws of this “exclusive” event, it was some of the lesser known names who were the most interesting of the long showcase.

Mimi Fox

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Jazz guitarist Mimi Fox performed elegant and thoughtful versions of Wes Montgomery’s “Four By Six” and Chic Corea’s “Five Hundred Miles High,” using open harmonics and sweeping arpeggios, all while playing lead and rhythm simultaneously. It was easy to see why Fox has been sought after by Stevie Wonder, Diana Krall, and Branford Marsalis, among others.

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Ian Ethan Case

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Ian Ethan Case is a young guitarist with a style that is both sonically and visually original and unorthodox in all the best ways. Case’s performance at this showcase surely had many six-stringers rethink the possibilities of the guitar. Case plays a double neck acoustic guitar in a unique and percussive manner, strumming the six string side of the guitar with one hand, while fretting chords and lead sequences on the 12 string side with the other hand, over the neck of the guitar while occasionally thumping his fists on the instrument’s body, creating polyrhythms. One must see this to believe it. His ideas were endless, playing a style that had elements of country, acoustic rock, and bluegrass, but is a completely unique sound nonetheless.

Case’s ballad “Anthony’s Lullaby”, dedicated to his infant son, had a dream-like, dissonant yet dark, melodic quality to it. It was refreshing to witness a guitarist who has created his own style and is not emulating a host of other players.

Vocalist Toots Hibbert and guitarist Carl Harvey are know for their work in the prolific reggae band Toots And The Maytals, but their acoustic, Delta Blues renditions of the Maytals’ classics “Reggae Got Soul” and “54-46 Was My Number” was a brilliant departure for these two men from the reggae world.  As both men strummed acoustic guitars, with Harvy playing an occasional piercing lead, Hibbert’s vocals sounded like a cross between the late Reverend Gary Davis and Richie Havens.  Their country blues arrangements gave the songs new fire and soul. This was pure blues without any of the affectations that many guitarists of other genres who try to conquer the blues are often guilty of falling back on.

James Hill

Ukulele master James Hill and bassist Bakithi Kumalo (bassist on Paul Simon’s Graceland album) brought some much needed humor to this event, performing a witty reading of Michael Jackson’s “Billy Jean,” with Hill singing and playing the chord changes on ukulele and Kumalo playing the funky bass line on a small, short scale bass.  The sound of Hill playing those syncopated minor ninth chords on a ukulele made his performance one to remember for a long time. Although Hill is a skilled musician, it’s rare and refreshing to see an artist at an event like this who doesn’t take himself too seriously and isn’t afraid to show it.

So that’s it for my NAMM 2013 highlights. At a huge event like this, it’s quality over quantity as there were hundreds of performances during the four day convention.

Like most of the NAMM attendees, I’m exhausted yet already curious about next year’s lineup of showcases and events.

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To read more reviews and posts by Devon Wendell click HERE.

Live Music: Alfredo Rodriguez at Vibrato Grill Jazz…etc.

By Don Heckman

Bel Air, CA.  Herb Alpert’s Vibrato Grill Jazz…etc. seems to have become a musical home base for pianist Alfredo Rodriguez.  On Tuesday night the Cuban-born pianist made yet another of a continuing string of appearances in the elegant Bel Air room, reaching back to his much-heralded arrival in Los Angles in 2009.

This time, however, there was a compelling sense of change in the air.  Rodriguez’s early performances – at Vibrato, as well as the Playboy Jazz Festival – immediately established him as a brilliant talent, gifted with inventive skills and virtuosic technical ability.

All that and much more was present from the very beginning, when a smiling Rodriguez, wearing a bold-striped t-shirt, strode on stage.  Awaiting him, Vibrato’s grand piano stood alone, the absence of a drum set, bass or other instruments making it clear that this would be a solo performance.  But the unexpected presence of a Moog synthesizer and keyboard, positioned over the piano keys, suggested that the journey would travel beyond the territory of acoustic piano alone.

As it did.

The set-up Rodriguez was working with – which was actually more than a synth –allowed him to sequence spontaneous patterns of melody and rhythm.  Laying them down, one track at a time, he built what were essentially compositions on the fly, one element at a time.  In some cases, after establishing expansive, ostinato synth patterns, often employing surging bass rhythms, he soloed above the orchestral-like textures he had created as a foundation.

The results were extraordinary, underscoring Rodriguez’s remarkable ability to apply his brilliant improvisational skills to full scale compositions.  At times he did so, amazingly, by controlling the Moog’s melodic and rhythmic functions via his iPhone (and a Moog controller app).

But there was more.  In addition to his complex, multi-layered synth and piano works, he also offered a few pure acoustic piano pieces.  Several were boleros – “Quesas, Quesas, Quesas” among them — interpreted by Rodriguez with the rich emotional expressiveness of his rapidly maturing talent.

In an earlier review I wrote about his Vibrato appearance in 2009 I made references to Bill Evans youthful work with George Russell and the melodic inventiveness of Keith Jarrett – all of it filtered through Rodriguez’s fertile imagination. All of that, and more, were still present in this remarkable performance.

So, too, was a growing sense of creative maturity.  Playing now with a broader dynamic overview than was often apparent in his earlier appearances, he now displays the musical presence of an artist who has found the fullness of his creative abilities.

From the very beginning of his U.S. performances, Rodriguez’s playing was often a blend of extraordinary abilities combined with the promise of much more to come.   Now, four years later, he’s delivering on that promise.

Photos by Faith Frenz.

Picks of the Week: Jan. 30 – Feb. 3

By the iRoM Staff

Los Angeles

Don Williams

- Jan. 31. (Thurs.) The Don Williams Group.  Percussionist Williams, a busy studio musician (not the country singer), takes a break to lead an all-star collective featuring saxophonist Bob Sheppard, trumpeter Carl Saunders, trombonist Bill Reichenbach, pianist Christian Jacob and bassist Dave Stone.  Vitello’s.    (818) 769-0905.

- Jan. 31. (Thurs.) The Miro Quartet.  The award-winning Miro quartet performs a program dedicated to three far-ranging Beethoven string quartets: Op. 18, , Op. 95 and Op. 131.  The Cerritos Center for the Performing Arts.   (562) 916-8501.

- Jan. 31. (Thurs.) Frank Petrilli.  A protégé of the late jazz accordionist Frank Marocco, Petrilli also emphasizes the rich musical potential of an instrument not always appreciated for what it can do.  He’s backed by guitarist John Chiodini, bassist Pat Senatore and drummer Enzo Tedesco.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Feb. 1 – 3. (Fri. – Sun.)  Stanley Jordan Trio.  One of the true jazz guitar innovators, Jordan has spent a great deal of time as a solo performer, emphasizing his tapping technique.  But here he performs in a more musically diverse trio setting.  Catalina Bar & Grill.  (223) 466-2210.

Branford Marsalis

- Feb. 2. (Sat.) An Evening with Branford Marsalis. One of the high visibility members of the high achieving Marsalis family of New Orleans, saxophonist Marsalis makes a rare Southland appearance, backed by pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner.  The Valley Performing Arts Center.    (818) 677-3000.

San Francisco

- Feb. 3. (Sun.)  Vieux Farka Toure.  The son of the great Malian guitarist/singer Ali Farka Toure, the younger Toure continues to carry the torch for a contemporary blend of blues, funk, rock and traditional rhythms.  Also on the bill, American blues artist Markus James.  Yoshi’s San Francisco.   (415) 655-5600.

Seattle

- Jan. 31 – Feb. 3. (Thurs. – Sun.)  Dr. John and his All-New Band.  There’s never a boring moment when Dr. John leads his new band in a definitive display of the rich, rhythmic gumbo of New Orleans music at its best.  Jazz Alley.    (206) 441-9729.

New York

John Pizzarelli

- Jan. 31 – Feb. 2. (Thurs. – Sat.)  John Pizzarelli Quartet. Always engaging, guitarist/singer Pizzarelli has done a convincing job of following in the footsteps of such iconic artists as Nat “King” Cole, George Benson and others, while maintaining his own appealing style.  Birdland.    (212) 581-3080.

- Jan. 31 – Feb. 2. (Thurs. – Sat.)  The Patricia Barber Quartet. Pianist/songwriter Barber has thoroughly established herself as one of the jazz world’s rare singer/songwriters. Click HERE to read a current iRoM review of Patricia Barber’s new CD, Smash.   Jazz Standard.    (212) 576-2232.

- Feb. 1. (Fri.) Orpheus Chamber Orchestra with the Wayne Shorter Quartet.  A classic evening of far-ranging music, one of many scheduled in various parts of the world to celebrate Shorter’s 80^th birthday in August.  The program features three Shorter original works, along with Beethoven’s Overture: Creatures of Prometheus, and Charles Ives’ Symphony No. 3.  Carnegie Hall.  (212) 247-7800.

Berlin

Lily Dahab

- Jan. 31 – Feb. 1  (Thurs. – Fri.)  Lily Dahab.  Argentine singer Dahab has lived in Berlin, Madrid and Barcelona.  Along the way, she performed as a jazz singer and a musical theatre artist, defining one of contemporary world music’s most uniquely interpretive styles. A-Trane.    030/313/25 50.

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.