Live Jazz: A Brief History Of The World (Piano Division) with Alan Pasqua and Tom Schnabel

By Michael Katz

Jazz on the Westside found a cozy nook to curl up in Monday night, as radio station KCRW presented an Up Close event with pianist Alan Pasqua and music host Tom Schnabel at the New Roads School in Santa Monica. The goal of the evening, a one hour tour of the history of jazz piano, was nothing if not ambitious – it takes Ken Burns an hour just to say hello. And unlike Burns, Messrs. Pasqua and Schnabel elected not to leave out everything after 1950. The idea was to focus on a dozen or so icons, and naturally there were a few interesting inclusions and omissions. Most enjoyably, there was some exquisite solo playing by Pasqua, particularly in celebration of a new CD dedicated to Bill Evans.

Pasqua began with a nod to Jellyroll Morton. Playing a brief version of “Tomcat Blues,” circa 1920, he gave the audience a demonstration of how Morton moved the music from its ragtime roots to the edge of stride and what would become the trademark sound of Louis Armstrong and others. Progressing to the era of Basie and Ellington, Pasqua discussed how Duke used his piano style to recreate the full sound of his orchestra, through brief interludes of “Take The A Train” and “Sophisticated Lady.”

Alan Pasqua

There are certain players who can’t be left out in a Tour De Jazz Piano: Thelonious Monk, Bud Powell, Bill Evans, Errol Garner. Their contributions are found in various combinations of brilliant compositions and technical and harmonic stylings. Monk, in particular, has a trove of compositions that invite contemporary interpretation. Given the relatively brief time of the show, it was nice that Pasqua chose to explore one Monk tune fully.  He filled in the opening bridge of “Round Midnight” with a flourish and extended the standard with his own lively adaptation. Whereas with Bud Powell, he discussed jazz contrafact, demonstrating how Powell took the chord changes from “How High The Moon” and converted them to his own dense style in Charlie Parker’s “Ornithology.”

The one name that most in the audience were unfamiliar with was Jaki Byard, best known for his work with Eric Dolphy and, through much of the sixties, Charles Mingus.  More significantly to this evening, he was a teacher and mentor to Alan Pasqua, so if his presence in this list seems slightly biased, that’s quite all right. “Tribute To The Ticklers” was a nod to Fats Waller and the stride pianists. It is noteworthy that in the turbulent sixties, when Byard wrote this piece, he was able to reach backwards and create something contemporary, a reminder that jazz is a living time machine, able to go in every direction in ways unlike most other musical forms.

Tom Schnabel

There were nods to others, including McCoy Tyner and Herbie Hancock, and time constraints didn’t allow Pasqua to get to Dave McKenna and Keith Jarrett. Not surprisingly there were some notable omissions, most obviously Dave Brubeck. Pasqua allowed in the Q and A afterward that he didn’t think he could attempt to approach Brubeck without a rhythm section, though I don’t think you can leave him out of the conversation. Same with Oscar Peterson, ditto Mary Lou Williams. And the show’s format had such a resemblance to Marion McPartland’s Piano Jazz series, that she probably deserved a mention as well.

I’ve left Bill Evans for last, because he’s such a clear influence on Pasqua. There was a brief quote from “Green Dolphin Street,” followed by a lovely medley of Evans’ composition “Very Early,” and his classic interpretation of “Sleepin’ Bee.” Evans’ use of harmonics, his ability to sound almost lush and yet breathtakingly simple at the same time, challenge any type of written transposition. Pasqua’s new CD Two Piano Music is a nod to Evans’ Conversations With Myself, consisting of dual solo piano tracks. Pasqua’s composition “Grace” is on that CD, and that is how he concluded the hour long performance Monday night.

KCRW host Schnabel provided a bright counterpoint throughout the evening, offering a wealth of jazz knowledge to go along with Pasqua’s own musical history. He’s planning a similar evening focusing on Brazilian music later on this year, and that is good news for jazz fans in Santa Monica, and one assumes listeners of KCRW as well.

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

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

Live Jazz: Larry Goldings, Peter Bernstein and Bill Stewart at Vitello’s

By Don Heckman

Let’s start with full disclosure: I haven’t always been a fan of B-3 organ jazz.  But what I’ve realized over the years is that the problem hasn’t been the instrument, but a few of the instrument’s players.

All of which was fully clarified last night at Vitello’s with the stellar performance of jazz organist (and all around master keyboardist) Larry Goldings and his musical cohorts, guitarist Peter Bernstein and drummer Bill Stewart.

Peter Bernstein, Bill Stewart, Larry Goldings

Larry Goldings

The opening set, delivered to an overflow full house crowd, began with a high spirited romp through “It Ain’t Necessarily So.”  At its best, it set the tone for the high spirited, energetic tunes to follow.  Among them, a few originals – Goldings’ “Jim Jam” and Bernstein’s “Dragonfly” — showcased the improvisational skills of both composers.  Tossing ideas back and forth, supporting each other’s soloing, they were propelled by a tsunami of rhythmic currents from Stewart.

But it wasn’t until they reached the old standard, “I Surrender, Dear,” that a full range of the trio’s more subtle creative aspects began to emerge.  Beginning with an impressionistic array of tonal coloring from Goldings’ organ, the piece evolved into a creative showcase for Bernstein’s soaring improvisational imagination.

Peter Bernstein

The set continued with more imaginative playing: an untitled tune in 5/4 that appeared to be based on the chord changes of ‘Tea For Two”; a similarly untitled piece resembling an eight bar blues.

But whatever they played, Goldings, Bernstein and Stewart brought it to life with their own unique collective style.

The only distraction in an otherwise appealing collection of contemporary jazz playing at its finest was Stewart’s occasional tendency to play with a volume and an intensity overriding the acoustic limits of Upstairs at Vitello’s.  Drummers who play the club regularly are well aware of the risks of, so to speak, overblowing the room.

Bill Stewart

That said, however, it’s worth noting that Stewart’s career has been brightened by a masterful ability to blend swinging rhythms with subtle complexities, offered with a colorful range of dynamics.  And the passages in this set when those qualities were present – as in “I Surrender, Dear,” – were attractive reminders of his impressive skills.

For the enthusiastic audience, the individual players in this trio of gifted jazz artists could do no wrong, with Stewart, in particular, receiving ovations after every solo.

And, from this listener’s perspective, by the time the set was over, both my organ jazz phobia and Stewart’s hyper-intensity had been dissipated by the memorable impact of the trio’s appealing musicality.

Photos by Faith Frenz.  

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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 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 Music: Jason Moran in a Jazz Bakery Movable Feast at the Musicians Institute

The Most Exciting (Jazz?) Pianist On The Planet?

By Norton Wright

Hollywood CA.  Has there ever been a jazz pianist like Jason Moran? Not Jarrett, Evans, Corea, Brubeck, Peterson — not even George Russell — not even Moran’s mentors, Jaki Byard and Thelonious Monk. As with Jackson Pollock in the visual arts, Jason Moran may be “one of a kind.” Like Pollock’s abstract artistry, Moran at the piano does not cover familiar jazz tunes, but rather creates something new on the spot, an “encounter” with a piano generating a fresh and oftimes risky “event.”

Art critic Harold Rosenberg described a similar approach in the process of abstract expressionist painters in the 1950′s as follows:

“…the canvas began to appear as an arena in which to act… What was to go on the canvas was not a picture but an event.”

The same can be said of Moran wherein his piano provides the arena in which to act. His compositions are the result of his encounters with that piano. Though easily capable of swinging through jazz standards, Moran foregoes that convention to create original and amazing “events.” Long horizontal lines — sometimes smooth, sometimes jagged, often played in flowing clusters; a left hand of wickedly complex harmonies from which the connecting melodic tissue springs; and both hands frequently generating the repeated figures that mark the pulsing ostinato energy of minimalist composers like John Adams, Phillip Glass, and  Steve Reich.

On Tuesday at a Jazz Bakery Movable Feast at the Musicians Institute in Hollywood, Moran’s playing was in cadenza mode all night long. The notes flew by with the power, dexterity, and touch of a concert pianist. Lang Lang would have kvelled!

Jason Moran

All of which raises the question, “Is Jason Moran a modern, classical music composer/pianist/conductor like Thomas Ades, or might he be a preview of the future of jazz? Maybe he’s both. His creations and those of his trio mates, Tarus Mateen (electronic bass) and Nasheet Waits (drums) are clearly rooted in jazz, but the sense of classical composition and inquiry is always present in the band’s work.

This threesome known as “Jason Moran and The Bandwagon” have been together for thirteen years, and they work in consort like a mini-symphony orchestra. Piano, bass, and drums are constantly joined in musical conversations, sometimes playing in one mutual voice, sometimes engaging in separate, call-and-response musical dialogs, and sometimes “talking on top of one another” to create dramatically conflicted tonal textures.

Jason Moran Bandwagon

In their opening number, Moran invented a gentle melodic line with the support of Waits’ soft percussion and a warm bass ostinato by Mateen. Then SUDDENLY Moran found a beginning fragment of Fats Waller’s “Honeysuckle Rose” and the band’s conversation exploded, the tempo kicking into high gear. Moran was in 4/4, but Waits was talking back in 5/4, then roaring forward in 7/8. Mateen stayed with Moran’s 4/4 with his own throbbing, four-note walking bass, and Moran responded with his own minimalist repeats of a four-note figure to match   “hon – ee – suck – el” — “hon – ee – suck – el” — “hon – ee – suck – el,” the repetitions becoming as mesmerizing as a Sufi devotional chant.

The set continued with similar surprises. Evoking the mixed-media collages and “combines” of abstract expressionist artist Robert Rauschenberg, Moran occasionally introduced his band’s numbers by playing pre-recorded excerpts from old radio broadcasts — a kind of homage to artistic and political innovators of the past.

With an all-inclusive appreciation of music, Moran fuels his compositions with licks from rock to hip-hop to Debussy. One of The Bandwagon’s numbers began with the playing of an old recording by country blues singer Mississippi Fred McDowell. As McDowell’s keening built, Moran at the keyboard copied the singer’s wailings and soon carried the motif into a gorgeous, contemporary blues.  At the start of another number, Moran played a homemade audiotape of the sounds of Thelonious Monk in his Greenwich Village loft TAP DANCING! Moran’s piano segued into his idol’s surprisingly ungainly clumpings and built a line that eventually evolved into his take on “Straight No Chaser” — more complex and interesting than Monk’s original.

Towards evening’s end, I was reminded that there is no art without craft.  And Moran’s musical experience at The High School For Performing Arts under Bob Morgan’s tutelage in Houston, Texas, followed by his continuing education at the Manhattan School Of Music, and then his first professional gigs under the mentoring of Jaki Byard and Monk, clearly nurtured his exceptional talents.

In 2010 he was the recipient of a prestigious MacArthur Fellowship “Genius Grant” and recently has succeeded the late Dr. Billy Taylor as The Kennedy Center’s Artistic Advisor For Jazz. For aspiring young musical students whether in jazz or classical studies, the evolving, 38-year-old Jason Moran provides inspiring proof that creating great art requires hard work, exceptional imagination, and the courage to continue experimenting regardless of past triumphs or failures.

Might Jason Moran actually be the most exciting (jazz?) pianist on the planet?

All thoughts welcome…

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In closing: A note to John Adams, Creative Chair and Herbie Hancock, Creative Chair For Jazz, at the Los Angeles Philharmonic:

Gentlemen,

John Adams’ “Minimalist Jukebox” series a few years back at Philharmonic Hall delighted its audiences, especially with the surprising and little-known “classical” compositions of Frank Zappa! And Herbie Hancock’s presentation of solo Keith Jarrett last year was a night of “classically” elegant jazz.

If in the near future the Phil could provide a Disney Concert Hall outing for Jason Moran and The Bandwagon, might the inquiry of “Is it jazz – or something else?” be valuably extended?

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To read more posts by and about Norton Wright click HERE.

Jason Moran photo by Tony Gieske. 

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 Jazz: International Jazz Day at Herb Alpert’s Vibrato Grill Jazz. Etc.

By Don Heckman

Bel Air, CA. International Jazz Day was celebrated in high spirited fashion Tuesday night at Herb Alpert’s Vibrato Grill Jazz…etc.  The room’s Music Director and bassist Pat Senatore, who schedules an appealing flow of jazz talent in the attractive Bel Air club, picked many of his regular players to perform in a 3 ½ hour sequence of virtually non-stop spontaneous jazz.

It wasn’t exactly a jam session, but there were times when it came close: the players making spontaneous on-stage decisions about what tunes to play, shifting from number to number and group to group, tossing ideas back and forth, working out endings on the spot.

Bob Sheppard, Putter Smith, Dontae Winslow

The horn players covered a complete gamut of styles and methods – exactly what one might expect from the presence of such sterling talents as saxophonists Bob Sheppard, Tom Peterson and Chuck Manning, trumpeters Steve Huffsteter and Dontae Winslow and trombonist Bob McChesney.

And with rhythm teams that included pianists Joe Bagg, Ed Czach and Otmaro Ruiz, bassists John Belzaguy, Chris Colangelo, Jeff D’Angelo, Putter Smith and Pat Senatore, and drummers Matt Gordy and Dick Weller, it was no surprise that there was no let-up in the music’s propulsive rhythmic drive.

There were plenty of highlights in this extraordinary evening. To mention a few of the sounds still ringing through my mind after the performance, as we drove down Beverly Glen’s twists and turns to the Valley:

- The opening set by a gifted group of teen-age jazz players, whose convincing program reached from a fast-paced “Donna Lee” to a lyrical “Passion Flower.”

Steve Huffsteter, Pat Senatore, Tom Peterson

- A quintet that matched Tom Peterson and Steve Huffsteter in a set of beautifully played versions of “Alone Together,” “Body and Soul” and a simmering bossa nova.

- Another quintet featuring Bob Sheppard and Dontae Winslow – a pair of horn players with fine intuitive interaction, doing their imaginative takes on “Autumn Leaves” and “Straight, No Chaser.”

- Trombonist McChesney’s remarkably fast-paced, articulately expressive soloing in a surprisingly high speed romp through “I Love You,” and Chuck Manning’s similarly fast-paced, spontaneous take on “I Hear Music.”

- And a final set pairing of Sheppard and Huffsteter on a warmly intimate ballad rendering of “I Can’t Get Started” and “Yesterdays” (the Cole Porter, not the Beatles version).

Jazz at its best, in other words.  Precisely the sort of inventive, briskly swinging improvisational music that was being celebrated in locations around the world for International Jazz Day.

Give Pat Senatore, his players and Vibrato lots of credit for the way they handled their share of the celebration, reminding one and all of the Southland’s vital role as one of the important sources of jazz at its finest.

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Photos by Faith Frenz.