Live Music: ZZ Top and Jeff Beck at the Greek Theatre

August 18, 2014

By Mike Finkelstein

Los Angeles, CA.  Cool is one of those qualities that, although hard to precisely define, we sure do recognize when we see it. On Wednesday night at the Greek Theatre, Jeff Beck and Billy Gibbons, two of the coolest guitar personalities to ever spank the plank, shared a double bill, and also found time to share the stage. These are two who have the cool  in their delivery and style. And as both approach 70 years old their continued prowess with their instruments is inspiring. For guitar enthusiasts this was must see live work and it satisfied mightily.

Jeff Beck

Jeff Beck

Jeff Beck went onstage shortly after sundown in a black vest, a wrapped scarf, and the same haircut we have known him with for nearly 50 years. The silhouette is very familiar. For years from the seventies on, his bands have featured him playing with one talented keyboardist or another (Max Middleton and Jan Hammer are notable alums). On Wednesday, there were no keyboards, instead he had a second guitar player, a dynamic young female bassist and a monster drummer… and for more than half of his set he had ex-Wet Willie vocalist and long time collaborator, Jimmy Hall, singing a batch of his more bluesy, guitar-and-vocals oriented tunes.

Beck’s set began instrumentally with “Loaded,” and the band stretched out nicely over a cover of “You Know You Know,” by the Mahavishnu Orchestra.  Bassist Rhonda Smith in particular, shined on this,serving up a contrasting mix of slapping and undulating bends.

Lately, no Jeff Beck show is without his instrumental version of the Beatles’ “A Day In The Life.” On Wednesday that tune was classic JB, with all the dynamics and nuance he is famous for injecting into his interpretations.  Much has been written over the years about his style and he truly stands alone in that nobody else does what he does and if they try to, we know where they got the ideas. It is his multitasking right hand that sets him apart. That right hand often does two or three things at once.  Whether he is tapping the strings, delicately nudging the vibrato arm, working the volume knob, or just ripping open a power chord it all takes a beautiful form. He hangs his hat on controlling chaos in his sound. It blows like a tornado and then stops and pivots on a dime.

Jimmy Hall

Jimmy Hall

Halfway through the set, Hall came onstage and they reached way back to the Truth album for “Morning Dew.” It’s a powerful song, whether sung by Rod Stewart (on Truth) or by Hall this time. And it’s a great example of how much more than the sum of the parts a vocal line and guitar line can elevate to. They also continued on to cover Jimi Hendrix’ “Little Wing,” and Sam Cooke’s “A Change is Gonna Come.”

But the direction of the evening was shown with last two selections of “Goin’ Down,” from Rough and Ready, and the British blues/rock staple, “Rollin’ and Tumblin’.” At the end of his set, his “Aw Shucks” grin and slouch said it all. But we would see Beck again, later in the evening.

ZZ Top came on next as the headliner, and put on a uniquely stylized rock ‘n’ roll show. The stage set had a distinctly automotive theme to it, from the red and green lights in the bass drums, to the truck smokestacks that supported the mike stands, and there were many projected slides of sparkplugs displayed like fine hors d’oeuvres.

One really can’t discuss ZZ Top without acknowledging the presence of the beards. Both bassist Dusty Hill and guitarist Billy Gibbons have beards down past their sternums and also wear black sunglasses, dark hats and similar but happily not identical black pants, coats and shoes. You could say they each look like a cross between Cousin It (Addam’s family) and the Fabulous Furry Freak Brothers…but can they ever play and dance. The way they carry themselves onstage is one of a kind. Together it’s magic, a comic combination of effortless, confident, and impressive. … and all of these are key strands of cool.

ZZ Top

ZZ Top

Both Gibbons and Hill are thinner than you might imagine, and light on their feet in a laid back way. Gibbons is pretty much gaunt, but he slides around stage with the same cool fluidity he exudes on guitar.  The two beards can still dance the choreographed steps they learned in the bars and roadhouses of Texas coming up through the ranks. Who knew the dancing and their style would get them noticed, big-time, on MTV in the 80’s? It does look cool, but it wouldn’t mean anything if it didn’t sound like ZZ Top.

For a three-piece band, ZZT puts out a lot of sound. They keep the riffs and the riff-support simple but it sounds tremendous. The bass and guitar are usually playing in unison to make the figure sound as big as possible. The drums were thunderous and on one of the toms there was a huge reverb trigger at work. But on top of it all is Billy Gibbons’ legendary guitar tone…and that’s what sets ZZ Top’s sound apart.

One has to hear Gibbons’ tone to appreciate it. On Wednesday he played a customized old gold top Les Paul. He often plays with a quarter or a peso instead of a guitar pick, and this enables him to put all sorts of overtones off the top of the string with the metal on metal contact. He also has his amps dialed in for huge but not overblown sustain, and very little dirt in his distortion. The end result is a tremendous, clean and bright, clear and soft, lead tone and a magnificently overdriven, but clean rhythm tone.

The band cruised through crowd favorites such as “Waitin’ for the Bus,” “Jesus Just Left Chicago,” “ Gimme All Your Lovin’,” and even covered Jimi Hendrix with an impressive rendition of “Foxy Lady.” But perhaps the most telling song was their cover of Muddy Waters’ “Catfish Blues.” There’s just something about the way ZZ Top plays blues that isn’t remotely like so many other bands that just rock the blues into a distorted and boring cliche. While they do turn it up, ZZ Top’s rhythm section takes a less is definitely more approach for the blues. And again, Gibbons’ guitar tone, just squeezing out the sparks and wheezes was phenomenal. They linked the elusive sparsely powerful intimacy of the old Chicago blues with the big oomph of power trio rock music…not so easy to do well.

ZZ Top’s encore was the big treat and the moment of anticipation- Jeff Beck and Billy Gibbons on the same stage.  Bring it on. It wasn’t so much a showdown as a chance for us to finally corral two of the more distinctive rock guitar stylists ever on one stage. Many guitar players who share a stage with Jeff Beck are in awe. Gibbons was simply playing with a peer, so there was no tension to break. Gibbons switched to a Fender Telecaster, so as not to overpower Beck’s Stratocaster.  They Played “La Grange,” and “Tush,” of course, but the coolest song had to be a cover of Tennessee Ernie Ford’s “Sixteen Tons.” Between Gibbons’ low, murmuring growls on the vocal, it was a fine showcase of the two styles and in the end the winner was the audience.

Cool is one of those qualities we tend to associate with youth but it’s really quite remarkable to see older folks retain it and wear it so effortlessly. Jeff Beck and Billy Gibbons are still two of the cooler cats you’ll ever see nearing seventy years old and playing killer guitar.

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To read more reviews and posts by Mike Finkelstein click HERE.

 


Live Music: Tori Amos at the Greek Theatre

July 30, 2014

By Mike Finkelstein

Last week at the Greek Theatre, Tori Amos reminisced to an adoring crowd that several of the songs she would perform were born just down the street around Franklin and Gower. If the songs are her babies then her audience plays a role in raising them. Many of the tunes she played Wednesday were around 20 years old and were fondly received like old friends. It seemed quite apparent that many of these folks had seen her multiple times over the years and the vibe when she hit the stage was one of reconnecting with a good friend.

It usually takes a whole band to play a venue the size of the Greek Theater and have an impact. In lieu of a band, one had better have strong material, and most importantly, a whole bundle of charisma to get the point across. Tori Amos came to play with plenty of both.

A petite and adorably animated woman, she skipped on stage Wednesday dressed in black and wearing a stylish set of glasses, which she rarely removed.  She also brought a manila folder full of notes, lyrics, and setlists that were certainly going to require those glasses stay right there.

Her stage setup is basically that of a piano bar. There was a grand piano and an electronic Hammond organ arranged back to back so that she could play them in tandem for much of the night. Once she had bounded on, she would pivot on the bench and strike up the tunes in elegant two legs forward and to the side postures. Behind the pianos were six tastefully arranged sections of faux bricks to evoke that piano bar ambience. Around halfway through the set, one of the sections grew a neon sign and we were in the Lizard Lounge where one would expect to hear piano covers. She did three good ones, Bjork’s “Hyperballad,” an intriguingly controlled version of Dead or Alive’s “You Spin Me Around (like a record),” and a chugging version of Elton John’s “Someone Saved My Life Tonight.”

Tori Amos

T. A.’s piano style uses arpeggios to spin and push the vocal line along. From measure to measure we could hear the tensions between the piano and her voice bubbling away. She also is deft with dynamics and within each tune her sound was consistently morphing.

Amos’ vocal range is dynamic. Within one stanza she would easily transition from a bluesy growl to a soaring Celtic wail. This approach to phrasing made a song like “Fire on the Side” into an enormous entity. It’s a song about almost winning the love of a married man and the heartache that comes with this sort of thing. I happened to be standing next to a woman who was singing along with T.A. What struck me was how perfectly she sang along with it through every emotion in the song, likely because she had been there before and had it to help her through the ordeal. And I started to notice how many other people were connecting with all of the songs in the same fashion.

As I listened to Amos sing “Crucify,” I found myself musing on how the best songs often take an unhappy subject like being hypercritical of our selves and turn it into several minutes of haunting beauty. Beauty and sadness together do draw us in.

During “Wedding Day,” Amos relied on a bit of gadgetry to make the song come alive. Her electronic keyboard had a patch that made the keys sound like a guitar. The intervals played through this patch are what will really make it sound like someone is playing a guitar. Of course, she did voice it like a guitar and the effect brought out a double take or two. Then she used a layered harmonic effect to get the harmonies on the original recording, and also added a percussion patch. But to her credit, she delved into these enhancements very sparingly.

The bond between Tori Amos and her audience is clearly rock solid. Wednesday’s show at the Greek felt like a homecoming of sorts for yet another musician who paid dues just a few miles away in Hollywood and has returned for a simple stop on the tour itinerary. The adoration coming from the audience was remarkable, as was the respect she gave back to them in song.

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To read more reviews and posts by Mike Finkelstein click HERE.


Live Music: Gloria Estefan and the Hollywood Bowl Orchestra in an “America & Americans” Concert at the Hollywood Bowl

July 28, 2014

By Devon Wendell

Many music purists and snobs might balk at the mere mention of Gloria Estefan and dismiss her as being just another celebrity pop-star.  But Estefan proved to be a stellar musician with the chops, versatility, and stage presence of a great jazz singer at The Hollywood Bowl Saturday evening.

Estefan performed two sets consisting of her greatest hits and material from her 2013 Grammy nominated album The Standards featuring her own soulful twists on some of the most familiar standards from the American songbook.

Gloria Estefan

Gloria Estefan

Backed by a focused and subtle band featuring some of the greatest session musicians ( Shelton Berg: piano and musical director, Dean Parks: guitar, Carlos Puerto: bass, Ray Brinker: drums, Edwin Bonilla: percussion, Cynthia Medina and Socrates Perez on backing vocals and The Hollywood Bowl Orchestra (Conducted by Thomas Wilkins). Estefan kicked off the festivities with “Good Morning Heartache,'” “They Can’t Take That Away From Me” and Jobim’s “Yo Se Te Voy A Amar.”  Instead of dancing across the stage as she did over 30 years ago, Estefan stood poised, elegantly gripping the microphone like a true jazz crooner. Her voice has deepened with age in all the best ways. Her thick vibrato and dynamic phrasing fit these standards perfectly.  The choice of material never sounded forced for one moment.

Actor Andy Garcia made a guest appearance, playing congas on a very sexy salsa reading of Gershwin’s “You Made Me Love You.” This was a highlight of the evening. Estefan’s smoky yet playful vocals jelled beautifully with the pure Latin jazz horn hooks and percussion delivered by Estefan’s band and The Hollywood Bowl Orchestra.

Another program highlight was Estefan’s rendition of Fredrick Loewe and Alan Jay Lerner’s “I’ve Grown Accustomed To Her Face” dedicated to Estefan’s hubby of 36 years, Emillio. The band played at the level of a whisper. Berg’s stark and minimalistic piano accompaniment complimented every carefully delivered phrase and nuance by Estefan.

Estefan also played more mature,, jazzier versions of her biggest hits such as “Here We Are,” a slow, jazz-tinged arrangement of “Conga” and “Rhythm Is Gonna Get You,” giving the show a sense of continuity and focus.

On “Rhythm Is Gonna Get You” Estefan was joined by The Youth Orchestra Of Los Angeles. These kids really knew how to swing hard, adding more excitement to the program.

Another guest was Estefan’s teenage daughter Emily, who played acoustic guitar and sang Neil Sedaka’s “Where The Boys Are” with her mom singing background vocals on this doo-wop ballad. Emily sounded a lot like her mother when she was starting out in the late ’70s with the Miami Sound Machine.

After a brief intermission, Estefan presented her second set which was more subdued, aside from her classic pop anthems “Bad Boy” and “1-2-3,” although her classic ballads “I Can’t Stay Away From You,” “Don’t Want To Lose You Now” and “Anything For You” had a sad and haunting feel to them. The lyrics felt more sincere than when they first hit the charts almost a quarter of a century ago.

Estefan’s renditions of “The Way You Look Tonight,” “Smile” and “What A Wonderful World” had a beautiful darkness to them, especially Shelton Berg’s arrangement of the Louis Armstrong classic. Estefan has one of the most powerful and rich vocal vibratos I’ve ever heard and I hadn’t heard so vividly until this evening’s performance.

As haunting as the material felt at times, Estefan’s warm and humorous stage presence created a nice balance in the show’s overall mood.

The most interesting experiment of the entire evening was a sexy, R&B fueled take on George Gershwin’s “How Long Has This Been Going On.” Dean Parks’ rhythm guitar comping played sweetly along with the steady bass line played by Carlos Puerto. Estefan’s vocal delivery proved that she not only has a strong understanding of the complex chord changes but also a deep felt knowledge of the mature lyrical content which separates a good singer from a great one.

Estefan ended the show with the disco anthem “Turn The Beat Around” accompanied by an incredible fireworks display that was synchronized with the music. All in attendance were having a blast, especially the “Glo-Heads,”Estefan’s most loyal fans who took up a third of the upper portion on the Bowl, sporting purple glow sticks.

As an encore, Estefan performed a heartfelt, bluesy reading of the Carol Leigh standard “Young At Heart” to cool things down. The strings, harp, and brass of The Hollywood Bowl Orchestra sounded perfect behind Estefan, creating a dream like ambiance.

Gloria Estefan performed one of the finest concerts I’ve witnessed in a long time, destroying all notions I had of her just being a pop singer. Estefan can do it all and her mature, sultry performance was the perfect fit for a summer concert at The Hollywood Bowl.

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


Picks of the Week: July 15 – July 20. (Tues. – Sun.) in Los Angeles, San Francisco, New York City, London and Paris.

July 15, 2014

By Don Heckman

Los Angeles

Dave Grusin and Lee Ritenour

Dave Grusin and Lee Ritenour

- July 16. (Wed.) Lee Ritenour and Dave Grusin, Boz Scaggs, Eliane Elias. It’s a line-up filled with masters of far-reaching jazz genres (and beyond). Expect an evening of jazz for every taste. Look for an iRoM review later this week. The Hollywood Bowl. (323) 850-2000. .

- July 16. (Wed.) Gina Saputo. She still hasn’t been recognized for her rapidly growing skills as a new jazz vocal star. See Saputo now and join her growing cadre of fans. Catalina Bar & Grill.  (223) 466-2210.

- July 16. (Wed.) The Ron Eschete Trio. Veteran guitarist Eschete displays his impressive mastery of the seven-string instrument. Don’t miss him in action. Steamer’s.  (714) 871-8800.

Tatiana Parra

Tatiana Parra

- July 17. (Thurs.) Tatiana Parra with the Vardan Ovsepian Trio. Her name may not yet be as familiar to American audiences as it should be. But Parra is a remarkable talent, fully capable of blending the best qualities of jazz and Brazilian music. Click HERE to read an iRoM review of a recent album by Tatiana. Vibrato Grill Jazz…etc.  (310) 474-9400.

- July 17. (Thurs.) Sara Gazarek and Josh Nelson. Singer Gazarak and pianist Nelson have become an impressive musical team, interacting with intuitive creativity. The Blue Whale. (213) 620-0908.

Pat Senatore

Pat Senatore

- July 18. (Fri.) Pat Senatore Trio. Bassist Senatore’s remarkable versatility is on display almost every night at Vibrato with a variety of artists. This time out he leads his own masterful trio, with Josh Nelson, piano, and Mark Ferber, drums. Vibrato Grill Jazz…etc.  (310) 474-9400.

- July 18. (Fri.) Nutty. You may not have heard of Nutty, but you’ll never forget them after you experience their enhancement of classic rock tunes with swinging jazz settings. Vitello’s  (818) 769-0905.

- July 18 & 19. (Fri. & Sat.) Dreamworks Animation in Concert. Actor Jack Black hosts an evening celebrating 20 Years of Dreamworks animation shows. Thomas Wilkins conducts the Hollywood Bowl Orchestra. The Hollywood Bowl. (323) 850-2000. http://www.hollywoodbowl.com/tickets/calendar.

- July 18 & 19. (Fri. & Sat.) Denise Morgan. Completely at ease with gospel, classical, jazz and beyond, Morgan is an impressively eclectic vocal artist. The Gardenia.  (323) 467-7444.

Carol Welsman

Carol Welsman

- July 20. (Sun.) Carol Welsman. Singer/pianist Welsman offers her first Sunday Vespers appearance with her trio — bassist Chris Colangelo and drummer Dave Tull.  Welsman’s richly interpretive vocals and briskly swinging piano work are a pleasure to hear under any circumstances.  And this performance offers, as she says “a unique experience of jazz and spiritual reflection.”  All Saints Church, 132 N. Euclid Ave., Pasadena, CA. (626) 583-2725. (Admission is free.)

- July 20. (Sun.) Midnight Caravan. Actress/singer Linda Purl celebrates ‘The Great Ladies of the Glamorous Nightclub Era. Catalina Bar & Grill.  (223) 466-2210.

San Francisco

Benny Green

Benny Green

- July 17 – 20. (Thurs. – Sun.) The Benny Green Trio. Pianist Green has sustained, in stellar creative manner, the Oscar Peterson jazz piano legacy. An SFJAZZ event in Joe Henderson Lab.  (866) 920-5299.

New York City

- July 15 & 16. (Tues. & Wed.) Julian Lage Trio. A prodigy as a young guitarist, Lage has matured into an impressive new jazz star. The Jazz Standard. (212) 576-2232,

London

Leny Andrade

Leny Andrade

- July 15 & 16. (Tues. & Wed.) Leny Andrade. She’s arguably Brazil’s most convincing jazz-based vocal artist. Don’t miss this chance to hear her live. Ronnie Scott’s.  +14(0)20 7439 00747.

- July 19. (Sat.). (Fri. & Sat.) Take 6. There’s no vocal group quite like Take 6, with its blend of irresistible rhythms, lush harmonies and far- ranging vocal imagination. Ronnie Scott’s. +14 (0) 20 7439 00747.

Paris

- July 16. (Tues.) Ambrose Akinmusire Quintet. Trumpeter Akinmusire has been embraced, with good reason, as one of the new jazz stars of his generation. Paris New Morning.  +33 1 45 23 51 41
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Live Music: Chris Botti and Chris Isaak at the Hollywood Bowl

July 14, 2014

By Don Heckman

There were two guys named Chris on stage at the Hollywood Bowl Friday and Saturday nights. Despite their identical first names, their styles traced to very different genres. And despite those different sources, they both offered performances rich in musicality and compelling entertainment.

Friday evening opened with the first Chris – jazz trumpeter Chris Botti — backed by his own group and the Los Angeles Philharmonic under the baton of Bramwell Tovey.

Chris Botti

Chris Botti

Although Botti was often identified with the smooth jazz style in his early years, he has always been a player whose music was filled with the authority of jazz authenticity. Over the past two decades his ever-curious, inventive imagination has taken him to jazz settings reaching from performances with full symphonic orchestras, to straight ahead mainstream jazz, and explorations reaching the outer limits of free improvisations.

Much of that territory was explored in his gripping performance at the Bowl.

Botti began with a warm tribute to Miles Davis, applying his trademark, warm tone to a composition long associated with Davis – Rodrigo’s Concierto De Aranjuez. To Botti’s credit, he made the piece’s lush Spanish melodies his own. He was equally expressive with Davis’ “Flamenco sketches.

And when he added some familiar standards – “When I Fall In Love” and “The Very Thought of You” – he once again emphasized his embracingly warm sound and expressive tone to every melodic phrase.

Botti also showcased his skills as a leader, urging the members of his band – pianist Geoff Keezer, guitarist Ben Butler, bassist Richie Goods and drummer Billy Kilson – into their own far-reaching skills. Add to that the mesmerizing violin playing of guest artist Caroline Campbell on the Grammy-nominateed “Emmanuel,” as well as George Komsky’s soaring vocal rendering on “Time To Say Goodbye,” and the stunning versatility of singer Sy Smith.

And I’d be remiss if I didn’t also mention Botti’s easygoing communication with his audience. Strolling the stage, offering occasional interchanges with his listeners, he added a quality of warm connectivity too rarely seen in jazz performances.

Chris Isaak

One could also say the same about the other Chris on the program – rocker, singer/songriter, actor and talk show host Chris Isaak. Completely at home on the broad Bowl stage, Isaak moved into an even wider arena, moving across the narrow platform intersecting the box seats, then demanding a spotlight as he moved into the audience itself, singing, shaking hands with listeners, welcoming them throughout his set into an environment as comfortable as his living room.

Thirty years after he made his first recording, Silvertone, Isaak still maintains a dedicated audience. And his set embraced many of the high points of his twelve album discography. Add to that the numerous songs and musical themes he’s created for television and films.

His entertaining program encompassed memorable selections from all those sources. Among them: what is perhaps his best known song, “Wicked Game.” Add to that “Baby Did A Bad, Bad Thing” from the Kubrick film, Eyes Wide Shut and a string of a dozen or so somewhat less familiar, but equally compelling songs.

Strongly supported by his comfortable ease with his enthusiastic audience, and buoyed by his solid back up band, the lead guitar work of Hershel Yatovitz and lush timbres of the Los Angeles Phil, Isaak presented a program reaching far beyond his rock roots.

The program closed with yet another highlight: Chris Botti and Chris Isaak performing together in a brief set blending their disparate but amiable skills in tunes reaching from “Besame Mucho” to “Love Me Tender.” Call it the appropriate climax for a two-Chris performance to remember.


Ballet: “Les Nuits” by Ballet Preljocaj at the Dorothy Chandler Pavilion

June 22, 2014

By Jane Rosenberg

Les Nuits, by Angelin Preljocaj, inspired by One Thousand and One Nights, is a magic carpet ride of a ballet, flying to an imaginative realm where myth and psyche meet. On the surface it’s a marvelous entertainment, but beneath the pure pleasure of the ballet, is an exploration of woman’s role in society, our cultural prejudices, and what constitutes sexual intimacy.

With a cast of eighteen uniquely talented dancers, Preljocaj (pronounced prel-YO-tsa in Albanian and prel-zho-KAHJ in France where the company resides) manages to create movement that feels organic to his subject matter, suggesting the fantasy East of the Western colonialist’s mind without condescension or cliché. He is treading on dangerous territory here, but he manages to offer sly and subtle commentary, while providing seductive treats galore. The result is bewitching.

Ballet Prelokaj dancers

The poetic atmosphere is enhanced by the moody lighting of Cécile Giovansili-Vissière. In fact, Preljocaj is adept at choosing all of his collaborators. The Minimalist sets suggestive of Arabic arches and onion domes by Constance Guisset, and the modernist costumes of fashion designer Azzedine Alaïa create a harmonious whole, adding a seductiveness to Les Nuits without overstatement or glitz. Similar to Diaghilev, who created collaborations with contemporary artists for the Ballets Russes, Preljocaj surrounds himself with artists of his day. The lavishness of Leon Bakst’s famed set and costume designs for Fokine’s Scheherazade, however, is a far remove from the simplicity of Les Nuits.

The original music of Natacha Atlas and Samy Bishai is also at a remove from Rimsky-Korsakov’s lush melodies. Instead we have a potpourri of Western and Eastern music including electronic beats, popular song, dripping water, chirping birds, hypnotic chants, and Arabic instrumentations. Though musical transitions from dance to dance are abrupt at times, the overall impression is hypnotic and satisfying.

Drawn mainly from Persian and Indian folklore and literature, One Thousand and One Nights centers on the character of Scheherazade as she weaves tales to entertain the king and keep herself alive from one dawn to the next. Sinbad, Ali Baba and the Forty Thieves, and Aladdin are familiar to generations of children; but the unexpurgated tales have their dark and erotic side. It is the sensuality of the stories that intrigue Preljocaj, so leave the little ones at home.

The sensuality strikes the moment the ballet begins. Reclining on the floor, turbaned and draped in white, ten women, bathed in dappled light and rising vapors, sway languorously. We are in a suggestion of a harem with all the potency of Ingres’ painting, The Turkish Bath. Odalisques from every period of art come to mind – Jacques-Louis David, Edouard Manet, and Pablo Picasso to name but a few. There is more at work here than mere eroticism, however: the dancers move in defined patterns, slowly coalescing into two groups, creating a kaleidoscopic arrangement. Structure and form are everywhere, testifying to the true artistic capabilities of the choreographer. No matter how intense the sexual atmosphere or free the dancing, Preljocaj organizes space with the eye of a painter composing a canvas, while movements are carved with the precision of a sculptor. Languid arms, throbbing torsos, and pliant legs all serve his artistic vision, never veering into extremes or unfolding for the sake of originality alone.

There is so much to intrigue one here that I will list just a few of the many stunning dances in the piece: Insect-like sexual coupling, which speaks of human behavior; a chorus line of women who move in super-model like posturings before breaking out into gestures of domination and anger; three pairs of men – one man of each pair “shaving” the other (is it grooming or does it refer to torture?); four carpets held aloft and in front of sixteen dancers whose legs and feet are the only body parts visible (deliciously funny); a demented picnic of twittering limbs and torsos on the four fallen carpets; a pas de deux reminiscent of an Indian miniature painting of Rajasthan; a riff on the Orientalism of the James Bond movies;

the highly charged eroticism of women dancing on large urns into which they finally descend (this isn’t your Arabian Coffee movement from Nutcracker anymore); and finally, a dance set behind screens of filigreed bars conjuring Javanese shadow puppets.

The only false note for me was a hookah-smoking dance near the end of the hour and a half – it was the first time I felt cliché intruding on the piece. Beautiful though it was, my attention flagged, and I felt ready for the closing movement. But whatever its minor shortcomings, Les Nuits weaves a narrative spell that carries us along to the end of the ballet when dawn breaks and Scheherazade, still alive, lives to tell another fabulous tale of man’s foibles and desires.

Photos courtesy of Ballet Prejlocaj. 

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To read more dance and music reviews by Jane Rosenberg click HERE.

Jane Rosenberg Dance Book cover.

Jane Rosenberg is the author and illustrator of  DANCE ME A STORY: Twelve Tales of the Classic Ballets.  Jane is also the author and illustrator of SING ME A STORY: The Metropolitan Opera’s Book of Opera Stories for Children

 

 

 

 


Here, There & Everywhere: Al Jarreau and the 36th Anniversary Playboy Jazz Festival

June 11, 2014

By Don Heckman

It’s that time of year again. The time when Summer is ushered in by the inimitable musical pleasures of the Playboy Jazz Festival at the Hollywood Bowl.   This weekend, to be precise, with two days of world class jazz artists arriving on the Bowl’s rotating stages, offering non-stop music – on Saturday from 3 to ll p.m., and on Sunday from 3 to 10:30 p.m.

Call it a musical party with jazz for all musical tastes, from big band to blues, from Latin jazz to funk, from soaring vocals to in the pocket grooves. And a lot more.

Al Jarreau

Al Jarreau

Few, if any, artists are more familiar with the Playboy Festival than the musically innovative, always entertaining, multi-Grammy Award winning vocalist Al Jarreau, whose presence at the Festival dates back for decades.

“It’s always a blast and a great shot in the arm to do the Festival at the Bowl,” says Jarreau. “To be there with 17,000 or so other people, making special music.”

George Duke

George Duke

 

Jarreau’s presence at this year’s Festival is particularly significant, given his long association with the late keyboardist/composer George Duke, whose far-ranging career will be celebrated at the Festival with a special tribute. Close friends since they were youngsters in the Bay area, Jarreau is filled with memories of their youthful musical years together.

“George and I had an outrageously close friendship,” he recalls. “We go back to the Half Note in San Francisco, where I met him in 1965. We were both puppies, but he helped me with everything musical. He used to come over to our place, and when we’d get into it, my mother used to say, ‘Get George out of here. You have to go to church in the morning’.”

But their musical friendship survived parental disciplining and continued into their mature years.

“The wonderful thing about it for me,” explains Jarreau, “was that George and I shared this love for a lot of different kinds of music. I’m as much an r&b pop singer as I am a jazzer. And the music was where George and I crossed paths. There was some stuff I didn’t do – like try to sing in a high sweet voice. But there were other things that I could do. Including some of the things I did with George, often with the walk along bass, spang a lang tunes that George and I did so well together. So I just had to be involved in Playboy’s tribute to George.”

Jarreau’s affection for Duke and his music reaches beyond this year’s Playboy Jazz Festival. On Tuesday, two days after the Bowl’s rotating stage delivers its last act to an eager audience, Jarreau’s latest album, My Old Friend: Celebrating George Duke will be released.

George Duke and Al Jarreau

George Duke and Al Jarreau

“I’m going to sing a couple of songs from the new CD,” says Jarreau. “I’ll sing with Diane Reeves, and Stanley Clarke and Marcus Miller are going to play, and a bunch of people from George Duke’s band will be there, too. It’s going to be a real reading and a real honoring of George’s music.”

Whether describing his performance at the Festival, his numerous recordings or his many years of performing before eager audiences, Jarreau – like his close friend Duke – underscores the pleasures of his chosen line of work.

“How good it is,’ he says, “to wake up in the morning and go to something that you’d do for free, and it makes you laugh and smile. And other people laugh and smile when you do what you’re doing. It’s amazing. Something that you love to do that you’d do for free, and I don’t mean having sex.”

“And I’ll bet,” concludes Jarreau, “ That all the other players at the Playboy Jazz Festival also honor the creative thing that we’ve been given to do. To create something new, starting with an instrument, a blank page or a blank canvas. There is something so powerful in that. To write, to paint, to record and (he breaks into amiable laughter) to make healthy records.

“Who could ask for anything more?”

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For Playboy Jazz Festival ticket and schedule information click HERE.

 

 

 


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