Live Pop: Keys N Krates at the Dakota Lounge

By Devon Wendell

Toronto’s own Keys N Krates — DJ Jr Flo, turntables, samples; Matisse, keyboards; Adam Tune, drums — showcased their fresh, “live remix” feel at the Dakota Lounge in Santa Monica, Friday night, thoroughly proving that they are helping to change dance remix music.

Alhough the group has found radio success on Hot 97’s “Who’s Next” alongside K’Naan, and were featured at 2009’s South By Southwest music festival, K N K is an act best experienced live, in an intimate, dance-ready environment. And the Dakota Lounge was the perfect place to top off the band’s summer West coast tour.

In the past, the swift handed DJ stylings of Jr Flo would have been sufficient to keep the party moving. His unpredictable, sped up, chopped and diced samples of old hip-hop breaks, classic R&B – and even 80’s pop-chart throwbacks – blended perfectly with Matisse’s sinister, Bernie Worrell-meets-Stockhausen electronica keyboard work and Tune’s hard pounding, rock influenced drumming.

But this performance had more. Humor and soulful play were at the forefront in K N K’s slyly twisted tribute to A Tribe Called Quest, “City of Awards,” from the group’s The Remix Live Volume 1. It was a well thought out and carefully crafted piece, in which Flo and Matisse were able to get a lot of mileage from one tiny vocal sample from Q-Tip, thrown in with a dash of classic P-Funk (also sampled by A Tribe Called Quest), with original midi-like keyboard lines, creating a completely unique work of their own.

Unlike other remix groups such as Electric Method and Girl Talk, K N K seemed to rely less on simply using remixed material samples, and were more intent on live band interaction and improvisation. Even Flo’s choice of familiar sampled material was so warped, and flew by so quickly, that they’d often seem unrecognizable, transformed by Matisse’s wonderfully menacing harmonic layering. This was also the case with “One In A Mili,” in which the late R&B diva Aaliyah’s presence was certainly felt as the piece took off. But then it all changed, with Matisse’s delicate, Moog-like sounds creating a uniquely industrial atmosphere. Holding it all together, Tune’s thunderous drumming twisted and turned with Flo’s every scratch, loop, and turnaround, never losing sight of the swift live remixes.

The object was to keep the crowd moving, with few stops between performances. But there were sudden witty twists and turns consisting of piercing metallic, fun-house-from-hell sound effects. Even something as saccharin as Lionel Richie’s “All Night Long” was given a refreshingly funny twist in the band’s performance of “The Longest Night,” in which Flo sampled Richie’s line “Yes, we’re gonna have a party,” leaving Matisse space for some uniquely melodic interplay.

The show came to a close with echoes of hip-hop trailblazers weaving in and out of the live remixes. Snoop Dogg’s The Next Episode (Live) Remix, C.E.O., and The Fugees’ Fugee La Live Remix laid down a mood based on texture, groove, and atmosphere and twisted the past to mold the future. All in all, K N K created a fascinating and memorable evening full of swaying hips and spontaneous soulful grooves.

Picks of the Week: August 25 – 30

By Don Heckman

Los Angeles

- Aug. 25. (Tues.) Placido Domingo and Yo-Yo Ma and the L.A. Philharmonic. What a combination. Domingo conducts Tchaikovsky’s dramatic Symphony No. 5 and Ma plays Dvorak’s controversial, but compelling, Cello Concerto. Hollywood Bowl (323) 850- 2000.

- Aug. 25. (Tues.) Dana Bronson. Singer/pianst Bronson usually performs in cabaret and hotel venues. Here’s a chance for him to open up his repertoire in the Southland’s premiere jazz setting. Catalina Bar & Grill. (323) 466-2210

- Aug. 25. (Tues.) John Pisano’s Guitar Night continues to be one of the Southland’s most dependable jazz destinations. This week Pisano hosts guitarist John Chiodini, bassist John Hughart and drummer Enzo Tedesco, Spazio.

- Aug.. 25. (Tues.) The Sam Most Trio with organist Joe Bagg and drummer Mark Ferber. The veteran Most was one of the first jazz flutists, but he’s also an impressive exponent of the cool tenor saxophone style. Bar Melody. (310) 670-1994.

- Aug. 26. (Wed.) Dizzy Gillespie All-Star Big Band. Here it is — one of the Bowl’s major jazz highlights of the summer. In addition to the sizzling Gillespie band, the evening also includes the irrepressible James Moody, the irresistible Roberta Gambarini, the Roy Hargrove Big Band and Gordon Goodwin’s Big Phat Band. The Hollywood Bowl. (323) 850-2000

- Aug. 27. (Thurs) An Evening with Terence Blanchard. The trumpeter/composer discusses his new CD, “Choices,” his film composing and his educational work with Robert Santelli, the Grammy Museum’s Executive Director, before playing selections from “Choices” with his full band. The Grammy Museum. (213) 765-6800.

- Aug. 27. (Thurs.) Theo Saunders Sextet. Pianist Saunders has assembled a sterling ensemble to perform selections emphasizing his belief that a musician should “Play what you hear, not what you think you hear.” The group includes Zane Musa, alto and soprano saxophones, Chuck Manning, tenor and soprano saxophones, David Dahlsten, trombone, Jeff Littleton, bass and Tony Austin, drums. Vibrato. (310) 474-9400.

- Aug. 27. (Thurs.) Dewey Ernie-Ron Eschete 4-Tet. Ernie, a songwriter’s singer, has been placing all of his considerable story-telling skills at the service of American songs for decades. He’s in particularly supportive circumstances whenever he works with his long time associate, the versatile guitarist, Eschete. Steamers. (714) 871-8800

- Aug. 27 – 29. (Thurs. – Sat.) Pharoah Sanders Quartet. Sanders keeps the adventurousness of the 60s alive in a tenor saxophone style that nonetheless always expresses itself in utterly contemporary fashion. Catalina Bar & Grill. (323) 466-2210.

- August 28 – 29. (Fri. & Sat.) Liza Minnelli. The diva of divas makes her return to the Bowl after a recent induction into the venue’s Hall of Fame and the conclusion, in January, of her hit Broadway show. Expect the kind of entertainment fireworks that only Minnelli can trigger. The Hollywood Bowl. (323) 850-2000

- Aug. 28 & 29. (Fri. & Sat.) Sara Gazarek. The ever-adventurous Gazarek displays her boundary-less vocal skills in a pair of performances with the German group triosence and guitarist Vitally Zolotov. On Friday at Cafe Metropole. (213) 613-1537. On Sat. at Irvine Barclay Theatre. (949) 854-4646-

- Aug. 28 & 29. (Fri. & Sat.) The Jazz All-Stars: Patrice Rushen, piano, John B. Williams, bass, Ralph Penland, drums. The label might seem a little presumptuous, but not when it’s applied to players like Rushen, WIlliams and Penland. On Saturday night’s special guest, Billy Valentine joins the Stars on vocals. Spazio. (818) 728-8400

- Aug. 29. (Sat.) Ernie Andrews and Dori Caymmi. The Grammy Museum Jazz Bakery show. It’s accurately described as “Blues to Bossa” and no one can illuminate those categories better than Andrews and Caymmi. The performance is also another reminder that the Jazz Bakery is still alive and well, looking forward to opening in a brand new venue. The Grammy Museum. (213) 765-6800.

San Diego

- Aug. 28 & 29. (Fri. & Sat.) Strunz and Farah. They’ve been around since world music was more a generalization than a category, and the two-guitar duo continue to combine their Costa Rican (Strunz) and Iranian (Farah) roots into a mesmerizing two-guitar musical blend. Anthology. (619) 595-0300.

San Francisco

August 28 – 30. Outside Lands Music & Art Festival. There’s a ton of musical action for every taste in San Francisco’s Golden Gate Park this weekend. Among the highlights: on Friday — Pearl Jam, Thievery Corporation, Tom Jones, Zap Mama; on Saturday — the Dave Matthews Band, Black Eyed Peas, The Mars Volta, Jason Mraz, Os Mutantes, Trombone Shorty; on Sunday — Tenacious D, M.I.M., Ween, Modest Mouse, Lucinda Williams, Robert Randolph. And many, many more. San Francisco Golden Gate Park Outside Lands Music & Art Festival.

New York

- Aug. 25. (Tues.) Sachal Vasandani, Billboard praised the young singer’s first CD as “a superb debut of distinctive originals and intelligent makeovers that teem with a fresh vitality.” His second Mack Avenue CD is due out in September. The Jazz Standard. (212) 576-2252

- Aug. 25 – 29. (Tues. – Sat.) Hank Jones Trio + Special Guests. The ninety-something Jones, still playing like a veteran youngster, demonstrates that he can trade riffs with anyone. He’ll be performing with Armand Hirsch (guitar 8/25-29), Terrell Stafford (trumpet, 8/25) Eric Alexander (tenor saxophone, 8/26) Joe Wilder (trumpet (8/27), Ravi Coltrane (tenor saxophone (8/28), Frank Wess (tenor saxophone/flute (8/29), George Mraz, bass. Willie Jones III or Quincy Davis, drums. Birdland. (212) 581-3080.

- Aug. 25 – 30. (Tues. – Sun.) Paul Motian, Joe Lovano, Bill Frisell. It doesn’t get much more stellar than this combination, and it will be fascinating to hear how these three creative individualists find improvisational common ground. (Their booking — for two weeks — also includes Sept. 1 – Sept. 6.) The Village Vanguard. (212) 255-4037.

- Aug. 26. (Wed.) Julia Dollison and Kerry Marsh: “The Music of Maria Schneider.” When Dollison and Marsh told Schneider they were planning to do vocal versions of her big band music, she thought they were crazy. But they persuaded her otherwise, and here’s an opportunity to hear their remarkable vocal transformations live. Jazz Standard. (212) 576-2252

- Aug. 28 (Fri.) Kendra Shank. With a talent that can find the beating heart of any song — whether it comes from the pop or jazz worlds or elsewhere — Shank is a singer who reveals something special in every performance. 55 Bar. (212) 929-9883.

Washington, D.C.

- Aug. 27 – 29. (Thurs. – Sat.) John Surman Quartet. With Jack DeJohnette, drums, Drew Gess, bass, John Abercrombie, guitar. Surman’s duo performances with DeJohnette have been extraordinary experiences. The addition of Gess and Abercrombie should make the encounters even more fascinating. Blues Alley. (202) 337-4141.

Quotation of the Week: Sting

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“I hate most of what constitutes rock music, which is basically middle-aged crap.”

Sting

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.To read more Quotations of the Week click here.

Fiction (Part 2): Nazi Germany’s Dance Band Rules

My initial post about the alleged Nazi Germany Dance Band rules was subsequently identified by Russian jazz writer Cyril Moshkow as an element in a fictional work by writer Josef Skvorecky.  In the last couple of days I’ve had a pair of intriguing follow-up messages that cast more light on Skvorecky as well as the music scene in general, and the jazz scene in particular, during the ’30s and 40s in Europe.  The first is from Graham Collier, the highly regarded English composer and author of several books on jazz.  As he notes in his following comments, he had a first hand connection with Skvorecky’s works.

Graham Collier writes: “Here is what Josef Skvorecky said in Red Music, an introductory memoir to two novellas published as The Bass Saxophone (Chatto and Windus, 1978). “[O]ne local Gauleiter issued an extraordinary (really extraordinary? In this world of ours?) set of regulations which were binding for all dance orchestras. I read them, gnashing my teeth, in Czech translation, in [a] film weekly, and fifteen years later I paraphrased them – faithfully, I am sure, since they had engraved themselves deeply on my mind – in a short story entitled I won’t take back one word.” [A later note explains that this short story was "published finally in 1966 as Eine kleine Jazzmusik".]

“The Bass Saxophone itself is possibly the best story about jazz ever published. It deals with a young Czech sax player’s decision to, in a sense, betray his country by becoming so besotted by the sight of a bass saxophone that he hardly resists when ordered to play it because one of the visiting German musicians is indisposed. I was so taken with the story that I persuaded BBC Radio to adapt the novella and, of course, to hire me to do the music. It paid off too, as we won a Sony Radio Drama award for the production.

“I asked Art Themen, who, like Skvorecky, should be better known than he is, to take the bass saxophone from its display (he’d never actually played it after an impulse buy!) and his first notes, like the Czech boy’s, were truly awful (and caused some consternation to the lunchtime drinkers outside a pub near his river-side apartment!). Later in the play however he had to recreate the sounds made by the previously indisposed and now angry German musician coming back into the band — which Art did wonderfully. As the boy said (as part of a wonderful almost Faulknerian ever-lasting sentence) “he played it like a dancing male gorilla, like a hairy bird of legend slowly beating its black wings …”.

“In the next day or so I will post an extract of this on my blog at jazz continuum.”

The second comment is from English jazz saxophonist, composer, arranger and bandleaer John Altman.  He describes some family connections with the music of the period.

John Altman writes: “The history of jazz and dance music during the war in Germany and occupied Europe has been well covered by Chris Goddard in his Jazz Away From Home, and by Mike Zwerin, and there is a fascinating 4 CD set of “authorized” dance band recordings. The most famous approved band in Germany was Charlie and His Orchestra, which featured many well known European jazz players under the leadership of several musicians including bandleader Fud Candrix. He was a friend of my mother before the war, and narrowly escaped prosecution as a collaborator.

“My uncle, Sid Phillips, recalled hearing many of his original compositions for London’s Ambrose band played by Nazi swing groups with new titles – being Jewish his music was proscribed, but there was no ban on appropriating his charts and playing them under other names.”

To read the initial post about Nazi Germany’s Dance Band Rules click here.

Fiction: Nazi Germany’s Dance Band Rules

When I first published this post yesterday (Sun. 8/16) I did so with some reservation, pointing out that these were “alleged to be actual rules handed out… by the German Government in 1940.” But I had my doubts when I discovered they’d been floating around the internet for a while, with no one seeming to affirm their authenticity or their fraudulence, one way or the other. So I labeled it “Humor (?). This morning I received a message from my Russian friend and jazz expert, Cyril Moshkow, clarifying everything. (More information about Cyril and his excellent jazz magazine and website can be accessed here: Cyril Moshkow.) Here’ s Cyril’s explanation about the “Dance Band Rules”:

“It is not exactly humor -- it is a part of Czech fiction writer Joseph Škvorecký’s story “Eine Kleine Jazzmusik”, published in 1966. Everybody in 1960s Europe knew it was a fake, expecially because of the “Reischmusikfuehrer’s” first and last name (which sounds too unnaturally much Hitler Era-ish — well, as if an imaginary U.S. functionary from the same time were called Roosevelt Newdeal.) But then, as the 1960s in their order became history, this feeling of on-purpose exaggeration somehow vanished, and newer generations of writers now meet this excerpt, which since the arrival of the Internet became a popular mega-quotation, now lives its own life; its readers, unaware of its being part of a certain writer’s fiction story (and, I am afraid, of the very existence of that certain writer,) now believe it to be a genuine Nazi document. Which only proves that Joseph Škvorecký (b.1924) is a very gifted writer. BTW he spent much of his life in Canada, wrote about jazz, was a Guggenheim Fellow and a Fellow of the Royal Society of Canada, and was nominated for the Nobel Prize in 1982 (but not awarded it.)” – Cyril Moshkow

That clarification made, I’m leaving the post here — properly re-labeled — as an entertaining sample of jazz fiction from a writer whose work I didn’t know. And, after looking into Skvorecky’s bio, his fascination with jazz and the list of his often jazz-tinged novels and short stories, I’m delighted that this chance episode has introduced me — and hopefully those of you who read this blog — to the work of a compelling, and too little known author.

To read further comments on the Nazi Germany Dance Band Rules, click here.

- Don Heckman

Nazi Germany’s Dance Band Rules of 1940

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1. In the repertoire of light orchestras and dance bands, pieces in fox-trot rhythm (so-called swing) are not to exceed 20%.

2. In the repertoire of this so-called jazz type, preference is to be given to compositions in a major key and to lyrics expressing joy in life (‘Kraft durch Freude’), rather than Jewishly gloomy lyrics.

3. As to the tempo, too, preference is to be given to brisk compositions as opposed to slow ones (so-called blues); however, the pace must not exceed a certain degree of allegro commensurate with the Aryan sense for discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) be permitted, or in solo performances (so-called breaks).

4. So-called jazz compositions may contain at the most 10% syncopation; the remainder must form a natural legato movement devoid of hysterical rhythmic references characteristic of the music of the barbarian races and conducive to dark instincts alien to the German people so-called ‘riffs’).

5. Strictly forbidden is the use of instruments alien to the German spirit (e.g. so-called cowbells, flex-a-tone, brushes, etc.) as well as all mutes which turn the noble sound of brass-wind instruments into a Jewish-Freemasonic yell (so-called wa-wa, in hat, etc.).

6. Prohibited are so-called drum breaks longer than half a bar in four quarter beat (except in stylized military marches).7. The double bass must be played solely with the bow in so-called jazz compositions; plucking of strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality. If a so-called pizzicato effect is absolutely desirable for the character of the composition, let strict care be taken lest the string is allowed to patter on the sordine, which is henceforth forbidden.

8. Provocative rising to one’s feet during solo performance is forbidden.

9. Musicians are likewise forbidden to make vocal improvisations (so-called scat).

10. All light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them violin-celli, violas, or possibly a suitable folk instrument.

Signed,

Baldur von Blodheim
Reichsmusicfuhrer und Oberscharfuhrer SS

CD Review: Fred Hersch Plays Jobim

Fred Hersch Plays Jobim (Sunnyside)

By Michael Katz

Searching for comparisons of the incomparable is a risky business, but you could make the argument that Antonio Carlos Jobim was in many ways a Brazilian counterpart to Duke Ellington. Both had a trove of instantly recognizable hits, yet also had a wider portfolio of beautiful, if seldom heard compositions penned over a lifetime. Pianist Fred Hersch, recognizing this, has recorded a remarkable solo album, Fred Hersch Plays Jobim, applying his classically tinged jazz chops to a cross-section of the Jobim ouevre.

The disc begins with a brief, reflective “Por Toda Minha Vida,” followed by a tune Stan Getz featured, “O Grande Amor.” Hersch’s version has almost a chamber jazz quality to it, gently percussive, with intricate phrasing echoing John Lewis and Milt Jackson winding through almost the entire piece before flowing into the familiar refrain.

Several times over repeated listening I thought of Joao Gilberto’s solo guitar album from the Montreux jazz festival, underlining how Jobim’s music can run the interpretive gamut from raucous Carnaval atmosphere to the introspection of a single soul. Hersch, sticking to his jazz roots, can be elegiac in his readings of “Luiza” and the medley of “Modinha” and the lesser heard, “Olha Maria.” Or he can be bright and samba-like in the more familiar “Meditacao” and “Brigas Nunca Mais,” providing brisk counterpoints to his complex chordal structures.

While some solo piano albums can tax the listener’s attention, Hersch commands attention throughout. In “Insensatez,” with its solemn start giving way to a lovely personal exploration of Jobim’s melody, he reinforces what a masterful player can do with the instrument’s tonal and lyrical range. He closes the disc with interpretations of Jobim standards “Desifnado” and “Corcovado,” the former a jazzier rendition than the cooler Getz/Byrd version, the latter almost a lullaby, pulling a soft blanket over this lovely collection.

Picks of the Week: June 29 – July 5

By Don Heckman

Los Angeles

- June 29. (Mon.) Tim Garland’s Lighthouse Trio. Saxophonist Garland’s remarkable accomplishments reach from orchestral works to choir music to commissions for an African dance company and pairings with Chick Corea. Hearing him with his Lighthouse Trio reveals the inner essence of his art. Catalina Bar & Grill. (323) 466-2210 .

- July 1 – 3. (Wed. – Fri.) Vital Information with Steve Smith. Drummer Smith’s interests in percussion reach around the globe and across musical genres. And Vital Information – with Smith, bassist Baron Browne, guitarist Vinny Valentino and keyboardist Tom Coster – cover most of those bases in their always-changing sets. Catalina Bar & Grill. (323) 466-2210

- July 2. (Thurs.) “Playing for Change.” The 25th Annual Twilight Dance Series at the Santa Monica Pier opens with the live band version of the startling “Playing for Change” phenomenon that has rapidly moved from the #1 rated YouTube video to a Top 10 release of their 2-disc CD/DVD. Santa Monica Pier Twilight Dance Series. And if you haven’t seen the YouTube video, with its marvelous revelation of the power of music, you should  Here it is: .

John Fogerty

- July 2 – 4. (Thurs. – Sat.) The Hollywood Bowl’s annual Fireworks Spectacular. Featuring John Fogerty with the Los Angeles Philharmonic conducted by John Morris Russell. Fogarty’s reportedly working on a new country album, but the Bowl audience no doubt will expect a large serving of such Creedence Clearwater Revival hits as “Susie Q” and “Proud Mary.” The fireworks, as always, will be spectacular. Hollywood Bowl. (323) 850-2000.

- July 3. (Fri.) Viver Brasil. “Feet on the Ground/Aiye.” A spectacular evening of sight and sound, with the invigorating songs of Katia Moraes and the high-spirited, roots rhythms and dancing of the amazing artist in the Viver Brasil company. Ford Amphitheatre. (323) 461-3673.

Highlight: July 3 (Fri.)

It’s a great night for jazz canaries in L.A., with three impressive ladies offering their very different, but utterly compelling views of the art of jazz vocalizing at locations across the Southland. (Ahh…for a personal helicopter).

Jackie Ryan. The ever-fascinating, multi-lingual Ryan has emerged, in the past few years as a singer with a stunning blend of creative imagination, musicality and captivating story-telling abilities. She arrives in town celebrating the upcoming release of her latest album, the 2-CD “Doozy” (Openart Records). (Full disclosure: I wrote the liner notes for the set.) She’s at the Culver Club at the Radisson. (310) 649-1776. To sample Jackie Ryan’s recordings, click here.

Carol Welsman. Across the county, Canadian singer/pianist Welsman applies her superb blend of voice and instrument to a repertoire that is as imaginative and far-reaching as any vocalist on the scene. (Maybe even more so.) Blessed with a whisper-in-your-ear warm sound and a rich harmonic sense, she uses them both to bring a compelling lyricism to her songs. Let’s hope she includes some of the engaging selections from her as yet unreleased tribute to Peggy Lee. Steamers. (714) 871-8800. To sample Carol Welsman’s recordings, click here.

Susan Krebs. Meanwhile, out in the Valley, Krebs brings to her songs her belief that “Being a jazz gardener is really about the art of becoming…whether working with plants or music or with oneself.” Her outdoors fascination reaches up to jazz-in-flight, as well, in her album, “Jazz Aviary,” which features such classics as “Baltimore Oriole,” “Skylark,” and, of course, “Ornithology,” She’s backed by pianist Theo Saunders, bassist Ryan McGillicuddy and drummer Sinclair Lott. Spazio. (818) 728-8400 To sample Susan Krebs’ recordings, click here.

- July 4. (Sat.) Shin Hae Chul and N.E.X.T. The South Korean pop star and his band make a rare American appearance. A liberal political icon as well as a musical headliner, often compared to John Lennon, he is one of the founders of the country’s contemporary Kpop genre. The Ford Amphitheatre. (323) 461-3673.

San Francisco

- July 2 – 5. (Thurs. – Sun.) Mose Allison & Bob Dorough. What a treat – two of the deans of hip jazz vocalizing, on the same stage. The Mississippi blues meet cool urban sophistication. Dorough also does a matinee on Sunday featuring selections from his “Schoolhouse Rock.” Yoshi’s Oakland. (510) 238-9200.

- July 2 – 5. (Thurs. – Sun.) Gerald Albright. The multiple Grammy-nominated saxophonist brings jazz authenticity to the too-often tepid waters of the smooth and contemporary jazz styles. Yoshi’s San Francisco. (415) 655-5600

New York City

Jack DeJohnette

- June 29. (Mon.) Ravi Coltrane & Jack DeJohnette with guests: “A Benefit for JazzReach.” Talk about an opportunity to make a contribution to something worthwhile, and experience some remarkable music in the process – here it is. Two of the jazz world’s most adventurous players, taking an exploratory road together. The Blue Note. (212) 475-8592.

- June 30. (Tues.) Terese Genecco & Her Little Big Band. Retro swing comes alive in the hands of the energy-packed Geneco and her irresistibly swinging seven piece band. Also on the bill, Scott Barbarino & the Bev-Naps re-imagine a combination of Dean Martin-revisited with a doo-wop, a capella vocal group.. The Iridium. (212) 582-2121. (Also the last Tuesday of every month.)

Anat Cohen (photo by Tony Gieske)

- June 30 – July 5. (Tues. – Sun.) Anat Cohen. “Clarinet work: Benny Goodman and Beyond. “ It’s been a long time since the clarinet has had an advocate as convincing as the gifted Cohen. Although her work on tenor and soprano saxophones is always a joy to hear, her love for the clarinet, combined with the ability to bring its rich resources of sound to life, is one of the pleasures of the 21st century jazz scene. It’ll be intriguing to hear what she does with Goodman. The Village Vanguard. (212) 255-4037

- July 1 – 4. (Wed. – Sat.) Lew Tabackin & Toshiko Akiyoshi Quartet. The gifted couple – with Tabackin’s envelope-stretching saxophone work and Toshiko’s compositionally structured piano have long been – and continue to be – models of new vista jazz improvisation. Birdland. (212) 581-3080.

Montreal

Ornette Coleman

- June 30 – July 12. The Montreal Jazz Festival. There are those who fervently believe that the Montreal Fest is North America’s finest music event. And they may be right (although I’d have to place the Monterey Jazz Festival at a similar level). But with settings placed in and around a beautiful city, and a line up like this, it’s hard to go wrong: Ornette Coleman, Oliver Jones, Joe Cocker, Al Jarreau, Jeff Beck, Jackson Brown, Buddy Guy, Tony Bennett, Brian Setzer, Burning Spear, Melody Gardot, Charlie Haden, Jamie Cullum, Al Di Meola, Joshua Redman, Chris Botti, Esperanza Spalding, Dave Brubeck, Madeleine Peyroux and more. The Montreal Jazz Festival. (888) 525-0515

Rothbury, Michigan

- July 2 – 5. (Thurs. – Sun.) The Rothbury Festival. Rothbury describes its mission as a “commitment to harnessing the spirit of the music festival community into a durable social movement.” A lot of performers and fans agree, especially when the Festival is placed in an amiable outdoor setting, and the program includes The Dead, Bob Dylan, String Cheese Incident, Willie Nelson, the Black Crowes, Ani DiFranco, Matisyahu, Femi Kuti and more. The Rothbury Festival. At the Double JJ Ranch in Rothbury, Michigan.

Live Jazz: Playboy Jazz Free Concert — Diane Schuur, Ed Shaughnessy and Susie Hansen

By Devon Wendell

On Sunday afternoon and evening, the 2009 Playboy Jazz Festival held its third community concert, free to the public, at Warner Central Park in Woodland Hills. And the festivities began early with a short, but diverse set from the talented young jazz players of the El Camino High School Jazz Band. Among the high points – Chuck Mangione’s “Between Races,” Hank Levy’s “Chiapas” and a tribute to Thad Jones titled “Thaditude.”

Jazz violinist Susie Hansen took the stage next in celebration of the 20th anniversary of her Latin Jazz Band. And it only took a couple of numbers – “No Te Metas Conmigo” and “Suene La Clave” — to get the crowd off their blankets and beach chairs, up and dancing to the infectiously swinging salsa hooks and lavish horn arrangements by David Stout, the vocals by both George Balmeseda and Kaspar Abbo, and the almost telekinetically connected Latin percussion laid down by Papo Rodriguez, Victor Baez, and Tiki Pasillas.

Susie Hansen

Though the electric violin may not be considered a “typical” Salsa/Latin jazz instrument of choice, Hansen’s strong intonation and the unique and tastefully syncopated phrasing she brought to her melodies stayed true to the music’s rich heritage and history. Even in bold experiments like Bobby Darrin’s “Beyond The Sea” and a medley tribute to Frank Sinatra of “Fly Me To The Moon(Cha Cha),” ”The More I See You, ” ”It Had To be You”and ”All of Me,” Hansen never abandoned the music’s Latin jazz roots. Stellar trombone work by Stout, and Joe Rotondi Jr.’s understated yet complimentary piano stylings were perfect for these adventurous ballad choices.

Hansen and her band closed with a salsa take on the rock n’ roll classic “Vehicle” by The Ides Of March — easily the highlight of the band’s set — laying down an irresistible salsa funk beat, with Hansen and the horn section trading solos while keeping the groove intact.

Ed Shaughnessy

Ed Shaughnessy, long recognized as a sterling big band drummer (especially with Doc Severinson’s band on The Tonight Show) showed up this time with a dynamic and seasoned quintet consisting of Tom Peterson (tenor), Ira Nepus (trombone), Jennifer Leitham (bass), and Rich Eames (piano). Playing a large, double bass drum kit, Shaughnessy dedicated his set to the man who pioneered the set up, the great and recently deceased Louis Bellson. Launching into a refreshingly original version of Billy Strayhorn’s “Take the ‘A’ Train,” done in ¾ time with a nod to Charlie Parker’s version of “Just Friends,” Shaughnessy proved from the first bombastic kick that his technique and his love for this music have not diminished with time.

Peterson’s “Rear View” showcased his Charlie Rouse-esque, bop-influenced tenor style. Eames and Nepus were very mainstream-traditional in Tom Rainier’s tender balled “Seaward.” But Leitham proved to be the standout member of the group with her Charlie Haden-wrestles-Paul Chambers aggressive bass playing. Leitham locked into Shaughnessy’s in the pocket swing on another Rainier tune, the funky “I’m Home, Honey,” focusing all eyes and ears on her boundless energy and unparalleled skills.

Shaughnessy and company wrapped the set with “Salt Peanuts,” in a version that was closer to Miles Davis’ 1956 rendition in its frenetic qualities than it was to Dizzy Gillespie’s familiar original. Shaughnessy’s enthusiasm for the music and his affection for lost comrade Bellson made his set a touching celebration of the music’s immortality.

Diane Schuur

Diane Schuur’s evening-closing performance had special significance because it reunited her with Shaughnessy, who — in Schuur’s words — was, “The cat who got me my first national exposure,” introducing her at the 1975 Monterey Jazz Festival and on “The Tonight Show.” “Deedles” (as she is known by friends and fans alike) and her band were joined by Shaughnessy, Peterson, Scott Steed (bass), and Richard Aimes playing piano on two numbers. The set consisted mostly of standards from her latest CD, “Some Other Time,” opening smoothly with Vernon Duke’s “Taking A Chance On Love.” In Irving Berlin’s “They Say It’s Wonderful,” Schuur captivated the audience with her vocal phrasing, her vibrato and her percussive, blues-tinged piano playing. Though chestnuts like “My Favorite Things,” “It’s Magic” and “Nice Work If You Can Get It” have been thoroughly done in all genres of jazz, the warmth and familiarity or Schuur’s musical presence kept them fresh.

The focal point of her set was Leonard Bernstein’s melancholy ballad “Some Other Time,” as Shauhnessy played brushes and lovingly gazed over at her in awareness of the lyrical significance of this special moment. The band’s accompaniment, especially the deep foundation of bassist Steed, was subtle and respectful, giving Schuur space to stretch out on piano as well as her scat singing.

As the sun dipped below the trees, Schuur and the band closed the show with “Deedles’ Blues,” with Schuur scatting along with each band member as they soloed, keeping them all on their toes. Instead of scurrying to beat the traffic, the audience, reluctant to have the evening end, danced with delight in the cool summer night’s breeze as “Deedles’ Blues’ came to a climax with a double bass bang from Shaughnessy — the perfect conclusion to the third and final free concert series of the 31st annual Playboy Jazz Festival. Next up, the Festival itself, on Saturday and Sunday at the Hollywood Bowl.

News: UCLA Live 2009-2010

By Don Heckman

David Sefton, artistic and creative director of UCLA Live has had some impressive accomplishments over the nine years that he has managed the University’s showcase arts presentations. But rarely has he matched the breadth and the innovation of what he has planned for the 2009 – 2010 season at Royce Hall.

Annette Bening

Topping the schedule is UCLA Live’s first-ever original production – a presentation of Euripides’ classic drama, Medea, staged by inventive Croatian theatre director Lenka Udovicki, with film actress Annette Bening in the thorny title role. The play makes another breakthrough with its four week schedule of performances, running from Sept. 23 to Oct. 18. “This project,” says Sefton, “lets us stretch in new directions as a producer. I am certain audiences are going to be blown away by the results.”

When Sefton took over the reins at UCLA, I teased him about a comment he made to an English magazine, suggesting that he would bring L.A. audiences around to his sometimes edgy, always adventurous view of the arts. Not quite a boast, it was nonetheless a proud banner for a man with a vision – but one which took a while to come fully into focus. And there were times over the course of his first few seasons when Sefton’s programming seemed to move uncomfortably from the cutting edge to bland predictability, in his efforts to remain true to his creative vision while simultaneously filing the nearly 2,000 seats at Royce Hall. But over the past four or five seasons, he has consistently found the right mix, staging acts and shows that would otherwise probably never be seen in the Southland.

The new season schedule is a classic display of what Sefton can do, at his best. The production of “Medea,” for example, is the pivot for UCLA’s Eighth International Theater Festival. Other scheduled theatrical items include a pair of plays from the Druid Ireland Theatre (Nov. 11 – 15 and Dec. 2 – 6), radical works by two Polish theatre companies — TR Warszawa (Nov. 18 – 19) and Teatr Zar (Dec. 1 – 3), and productions from Italy’s Societas Raffaello Sanzio (Oct. 28 – 31) and Belgium’s Ontroerend Goed (Nov. 2 – 7).

The DV8 Physical Theatre

The Dance line-up, like the theatre collection, is cutting edge across the board. The Hofesh Schecter Company (Oct. 16 – 17) presents a work inspired by the Paris uprisings of 2006. The DV8 Physical Theatre’s (Nov. 6 – 7) docu-dance work, “To Be Straight With You,” deals with tolerance, intolerance, religion and sexuality. The Reggie Wilson/Fist & Heel Performance Group.(Nov. 20-21) employs body percussion, aspirated breath, singing and shouts. The Alberta Ballet (Feb. 26 – 27, 2010) dances to Joni Mitchell’s “The Fiddle and the Drum,” with Mitchell’s paintings projected as backdrops. And the Cedar Lake Contemporary Ballet (May 7 – 8, 2010) makes its L.A,.debut.. .

THey Might Be Giants

The four musical areas – Pop, Jazz, World and Classical – embrace both the innovative and the familiar. The Pop music programming reaches from the bluegrass of Ralph Stanley (Oct. 25) and the alt-cabaret of the Tiger Lilies (Oct. 31) to the folk rock of Loudon Wainwright and Richard Thompson (Nov.13) and the always entertaining They Might Be Giants (Nov. 14). A Latin tinge surfaces in appearances by Los Lobos (Jan. 30, 2010) and Perla Batalla (Feb. 12, 2010 ), whose Valentine’s Day-themed show includes guest appearances by Culture Clash and Strunz & Farah. But the Pop programming hits its peak in the genre’s final three events – the iconoclastic Max Raabe and the Palast Orchester (Feb. 18, 2010), a rare concert appearance by Randy Newman (Feb. 10, 2010), and an all-join-in family appearance by Arlo Guthrie (April 9, 2010) with various children and grandchildren.

Gal Costa

The World Music acts are centered on the African-Latin American connection: Flamenco guitarist Paco Pena (Oct. 8), the superb Brazilian singer Gal Costa (Oct. 24), the Tuareg trance ensemble, Tinariwen (Feb. 20, 2010) and Senegal’s Afro-fusion master, Baaba Maal ( April 17, 2010). The Jazz selections are a bit more predictable, but no less appealing in quality: Jazz at Lincoln Center with Wynton Marsalis (Oct. 9), McCoy Tyner (Nov. 12), The Blind Boys of Alabama with Allen Toussaint (March 6, 2010) and the Monterey Jazz Festival on Tour (April 22, 2010).

Bela Fleck, Zakir Hussain, Edgar Meyer

Classical and New Music events reach out in all directions: A partnership of Bela Fleck, Zakir Hussain and Edgar Meyer (Oct. 22); an organ recital by Felix Hell (Nov. 15). that includes his renderings of the Beethoven Symphony No. 5 and Samuel Barber’s Adagio for Strings; the Orchestra Philharmonique de Radio France in an all-Ravel program; and the Royce Hall debut of tenor Ian Bostridge.

UCLA Live’s growing attention to lectures and spoken word events increases even more in 2009 – 201 with appearances by novelists Khaled Hosseini (Sept. 30), Margaret Atwood (Oct. 9), Carlos Fuentes (Dec. 12), and graphic novelists Harvey Pekar and Allison Bechdel (April 23, 2010), and screenwriter/comics creator Neil Gaiman (Feb. 4, 2010). There’s also an evening with poet Mary Oliver (Feb. 25 (2010), story telling by David Sedaris (May 5, 2010) and a rare public appearance by R. Crumb (Oct. 29).

Special events include a celebration of Culture Clash’s 25th Anniversary (Oct. 30), a reprise of the always popular Organ and Film (Feb. 13, 2010), with live music on the Royce Hall organ accompanying classic silent film clips, and Hitchcock! (April 1o, 2010) with live organ performances of music from several classic Hitchcock films.

David Sefton

All in all, that’s an impressive banquet of theatre, music, dance and more. One of the local radio stations persists in describing Los Angeles as the “creative capitol of the world.” I can think of a pretty good handful of locations around the world that would happily contest that assertion. But when it comes to David Sefton’s programming for UCLA Live, creativity in the Southland can comfortably stand up to the competition.

For more information about the 2009-2010 UCLA Live season, click here. Or call (310) 206-3843.

Picks of the Week: May 18-24

By Don Heckman

Los Angeles

- May 18. (Mon.) Pete Christlieb’s Tall and Small Big Band (11 pieces). Why “Tall and Smalll?” Because saxophonist Christlieb’s big enough to be an NFL linebacker, and trombonist Linda Small-Christlieb is….small. And don’t forget the sterling charts by Bill Holman — Charlie O’s. (818) 994-3058.

Chickenfoot

- May 19. (Tues.) Chickenfoot The new supergroup features Joe Satriani, Chad Smith, Michael Anthony and Sammy Hagar. There should be plenty of guitar fireworks, if you’re lucky enough to get a ticket for their L.A. debut. The Roxy. (310) 276-2222.

- May 19 (Tues.) Shelly Berg Trio with special guest Tom Scott. Pianist/educator Berg takes a holiday from his leadership of the jazz program at the University of Miami to jam with old pal, saxophonist Scott. Expect a lot fo bebop to be a highlight of the musical menu. Vibrato Grill Jazz…Etc. (310) 474-9400.

- May 19 & 20. (Tues. & Wed) The Allman Brothers Band & the Doobie Brothers. What else is there to say about a bill with those names on the marquee? Greek Theatre.

Rondi Charleston

- May 20. (Wed.) Rondi Charleston. The name may be unfamiliar, but the talent is right out of classic American song. Charleston’s new CD/DVD “In My Life,” is an extraordinarily well-planned collection of material — especially her touching rendition of Sting’s “Until.” She’s backed by a world class band — pianist Pete Levin, bassist Jay Leonhart, drummer Alvester Garnett, guitarist Dave Stryker and saxophonist Joel Frahm. Catalina Bar & Grill. (323) 466-2210.

- May 20. (Wed.) Dianne Reeves. “Strings Attached.” Reeves has been travelling this ensemble for a while. But with Russell Malone and Romero Lubambo backing her, it never gets old. Walt Disney Concert Hall. (323) 850-2000.

- May 21. (Thurs.) Singer Denise Donatelli offers a birthday gift (hers) of her always intriguing vocal intepretationsl. Charlie O’s. (818) 994-3058. Also at Steamers — (714) 871-8800 — on Fri., May 22.

- May 21. (Thurs.) Jerome Sabbagh. The adventurous and determinedly unique French tenor saxophonist makes a rare set of L.A. appearances. Café Metropol. (213) 613-1537. Also Saturday at Vibrato Grill Jazz…etc. (310) 474-9400.

- May 21. (Thurs.) Guitarist Ramon Stagnaro and saxophonist Justo Almario, with drummer Walter Rodriguez and bassist Abraham Laboriel keep the Latin jazz flames burning at Studio City’s attractive new jazz venue. Upstairs at Vitellos. (818) 769-0905

- May 21 – 24 (Thurs. – Sun.) The Billy Childs Chamber Ensemble and the Ying Quartet showcase a sneak preview of the compositions to be included on the Guggenheim Award winner’s next CD. The Jazz Bakery (310) 271-9039.

Highlight

Ann Patterson's Maiden Voyage

- May 21 – 24. (Thurs. – Sun.) “A Swingin’ Affair.” It’s becoming more and more difficult for fans of big band jazz to indulge their musical desires. Which is unfortunate, given the fact that the big jazz band instrumentation basically served as the symphony orchestra for 20th century American music. So kudos to the L.A. Jazz Institute for its continuing scheduling of big band events. And they don’t get any better than this one, which features the big bands of Bill Watrous, Tom Kubis, Chris Walden, Roger Neumann, Emil Richards, John Altman, Carl Saunders, Med Flory, Frank Kapp, Gordon Goodwin, Ann Patterson’s Maiden Voyage, the Los Angeles Jazz Orchestra (“A Jazz Portrait of Frank Sinatra”), Les Cooper, Alf Clausen, Ron Jones. The 60th Anniversary of Birth of the Cool, and more. At the Four Points Sheraton at LAX. Info:The L.A. Jazz Institute (562) 985-7065.

Angela Hagenbach

- May 22. (Fri.) Angela Hagenbach. Kansas City’s Hagenbach has been a fashion model and a commercial spokesperson. But she’s a lot more — a jazz and blues singer with a superb instrument and a unique ability to find the heart of a song. She’s making a rare Southland appearance. Radisson Hotel Los Angeles Westside. Info: In-House Music. (310) 216-586)

Freda Payne

- May 22 – 24. (Fri. – Sun.)
Freda Payne, always listenable (and constantly lookable), does a tuneful “Tribute to Ella.” But let’s hope she also includes “Band of Gold.” .Catalina Bar & Grill. (323) 466-2210.

San Francisco

- May 22. (Fri.) Kenny Barron trio. He’s been everyone’s A-list pianist for decades. But Barron’s best heard in the center of his own, unique musical environment. SFJAZZ. The Herbst Theatre. (415) 398-5655.

Kenny Burrell

May 23 (Sat.)  Kenny Burrell Quintet, Russell Malone Quartet. Two of the great, contemporary jazz guitar masters — in action. Let’s hope there’s time for a jam together. SFJAZZ. The Herbst Theatre. (415) 398-5655.

- May 24. (Sun.) Battle of the Bands: Glenn Miller vs. Tommy Dorsey. The Swing Era revisited — and another example of the imaginative diversity in the programming of SFJAZZ. Davis Symphony Hall. (415) 398-5655.

New York City

- May 19 – 24. (Tues. – Sun.) Ahmad Jamal. Still a jazz icon, still the pianist who’s sense of time and phrasing impacted Miles Davis, still one of the artists who should be heard at every opportunity.l The Blue Note. (212) 475-8592.

- May 19 – 24. (Tues – Sun.) Allen Toussaint dips into the Crescent City’s jazz stream with The Bright Mississippi Band. a sterling assemblage that includes clarinetist Don Byron, trumpeter Christian Scott, guitarist Mark Ribot, bassist David Pitch and drummer Jay Bellerose. The Village Vanguard. (212) 255-4037.

- May 20. (Wed.) Magos Herrera’s mysterious, compelling voice is rapidly emerging as one of the new pleasures of contemporary, Latin-inflected vocal jazz. Check out her new Sunnyside CD, “Distancia,” Jazz Standard. (212) 576-2252.

- May 21 – 24. (Thurs. – Sun.) Here’s one with the right music and the right players: “Finger Poppin’: A Tribute to Horace Silver” Featuring Tom Harrell, Eric Alexander, Michael Weiss, John Webber, Willie Jones III and Randy Brecker (on Sunday night only). The Iridium. (212) 582-212}

Maria de Barros

- May 24. (Sun.) Maria de Barros. She’s been closely associated with the music of Cape Verde — which she does with style and authenticity. But de Barro’s musical pallette has many more colors. And, in action, she’s a dynamic whirlwind. Joe’s Pub. (212) 967-7555