Brian Arsenault Takes On, or rather, Treasures: Peggy Lee

October 12, 2014

 By Brian Arsenault

Elton John had Marilyn Monroe but I had Peggy Lee. Miss Peggy Lee, pardon. No, I didn’t write a song for her but she did a song for me. Not really for me but maybe . . .

Peggy Lee at mic gesturesI was 11 or 12 when I first heard “Fever” in 1959 and it gave me a whole new, shall I say, feeling about girls. I was beginning to notice they were different in more things than hair and giggles but “Fever” was a revelation, even if I wasn’t quite sure yet what was being revealed.

As Don Heckman has written, she had so many strengths as a singer: deep sensuality, phrasing at a level only achieved by a handful of greats like Francis Albert and Mr. Bennett, and also like them, the ability to find the emotional center of the song.

An example of another artist finding the emotional center of a song: I was only recently reminded that Sinatra didn’t sing “Luck Be a Lady” in the film version of Guys and Dolls even though he was in it. (So was Brando, sheesh) Yet the song became a signature for Frank who showed it wasn’t really about shooting craps but seeking love. He found the center.

Peggy made “Fever” her own even though a guy named Little Willie John had an r&b hit with it that even crossed over to the pop charts. Still it’s like it was written for her. The song’s been recorded by who knows how many since Peggy, by performers as varied as Madonna and Beyonce, even Elvis. But does anyone doubt its Peg’s song.

Backed by just drum and bass, she just kills it with that deep voice you might have wished your girlfried had, with her funny fake Shakesperean take on the Romeo and Juliet verse, with a restrained eroticism that is almost palpable.

Miss Peggy Lee was singing professionally as an early teen. She fled a wicked stepmother and started by singing on a radio station literally for food. By 17 she was established as a radio singer. By 20 she was fronting the Benny Goodman band. At 21, she wrote “What More Can a Woman Do?” recorded by Sarah Vaughan with Dizzy Gillespie and Charlie Parker.

If I put exclamation points at the end of each sentence in the previous paragraph it would not have been misplaced punctuation. And I almost never use exclamation points. She was just getting started, one of the few survivors of the big band era whose career flourished into the 1950s and 60s and beyond.
Her early 60s appearance at the Basin Street East, mercifully preserved on a great album, just dazzles with its array of songs: “Day In -Day Out,” “The Second Time Around,” “Moments Like This,” “Them There Eyes,” and of course “Fever.” Hear her versions on the album and you don’t need any others. Consider also the limitations of live recordings, any recordings, in 1961 compared to today’s digital, if rather frozen, age.

If you can get a vinyl copy you will know why. On the cover, Peggy smiles to the side, the dress low on her shoulders, an earring dangles. Simply dazzling. And then you listen and dazzling isn’t enough to say.
As an aside, I also love the message on the back of the album below the liner notes:
“This monophonic microgroove recording is playable on Monophonic and Stereo phonographs. It cannot become obsolete. (Italics mine).” Damn right.

Her gifts were enormous. She was a songwriter for the Disney animated film Lady and the Tramp, a cartoon feature done with a loveliness unknown today. She also did four of the voices, from the lovely Lady to those nasty Siamese cats. I have never been able to warm up to a Siamese since and I kinda like cats.

Peggy also wrote songs with luminaries like Duke Ellington. She wrote TV scripts. She hosted variety shows. She acted in movies. She wrote poetry.

Her last big hit was in 1970 with “Is That All There Is?” Could there possibly be another hit song ever with lyrics taken from a Thomas Mann story? The band on the song was conducted by Randy Newman. Anyone else’s singing career span from Goodman to Newman?

She was in great demand right into the 1980s when failing health finally took its toll. She’d had a near fatal fall in Vegas some years before and came near death again with heart disease and surgery.
Yet she carried on into the 90s when she even performed a few times in a wheelchair. Now that could break your heart, eh?

Miss Peggy Lee died in 2002 having risen above enormous life challenges and changes in popular music tastes over so many decades. But if she’d only ever done “Fever” she’d be great to me.


Live Jazz: Alan Broadbent at Herb Alpert’s Vibrato Grill Jazz…etc.

May 30, 2013

By Don Heckman

The stage was almost empty Tuesday night at Vibrato Grill Jazz…etc.  Almost, that is, except for one notable exception.

Seated at the club’s large concert grand, pianist/arranger/composer Alan Broadbent performed several generous sets over a memorable three hours.  Originally scheduled as a duo with bassist Pat Senatore, it became a solo night for Broadbent when Senatore had to remain at home to fight the flu.

All of which made for a considerably different musical evening, one that was completely focused on Broadbent’s gifted, far-ranging talents as a pianist, an improviser, a composer and arranger.  All those skills were present, as Broadbent framed each tune – fast or slow with spontaneous arrangements, embraced the melodies, dug into improvised passages, and brought every song he touched vividly to life.

Alan Broadbent

Alan Broadbent

A master of the diverse music in the Great American Songbook, Broadbent filled his sets with classic items, thoughtfully shaping songs such as “I Fall In Love Too Easily,” “Spring Is Here,” “They Asked About You,” “You Go To My Head,” “Sophisticated Lady” and more.  Some of the ballads were offered with soaringly lyrical melodic phrases; some were tinged with rhapsodic classical touches.  And some were propelled forward via Broadbent’s laid-back, easy-going sense of swing. An occasional bebop line such as Sonny Rollins’ “Oleo” moved intriguingly from forward-driving bop to a reminder of the ragtime which is at its roots.

There were offbeat choices, as well: Gordon Jenkins’ “Goodbye” called up memories of its role as the theme song of the Benny Goodman orchestra. A medley of film themes focused on the atmospheric sounds of “Laura.” And John Lewis’ “Django,” a tribute to the great Gipsy jazz guitarist, was played with a sensitive awareness of its roots in J.S. Bach.

A Grammy nominee and a Grammy winner, the New Zealand-born Broadbent had been, until very recently, one of L.A.’s busiest first call musicians.  In addition to his briskly swinging, straight ahead jazz skills, singers such as Irene Kral, Diana Krall, Natalie Cole and others have deeply valued his ability to provide the perfect settings for their very different styles.  And his work with Charlie Haden’s Quartet West has produced some extraordinarily musical recordings and live performances ranging from Broadbent’s imaginative instrumental settings, some of them orchestral, to his compelling vocal arrangements on recordings such as Sophisticated Ladies.

Pianists performing either solo or in duos or trios at Vibrato have been known to be overwhelmed by audience noise, especially from the bar.  But on this evening, Broadbent’s playing was so musically mesmerizing that his listeners seemed completely in tune with the magic he brought to each song.

And, as the evening got thoroughly underway, there was no sense of emptiness on the stage. Operating on his own, with no back up players, Broadbent – on his own — nonetheless filled Vibrato with an irresistible sense of imaginative musical completeness.

Broadbent’s performance at Vibrato was a rare Southland appearance since his move to New York City a year or so ago.  But this listener (and no doubt many others) will happily welcome any future Broadbent L.A. visits – either on his own, or blending with the right compatible players, backing a singer, or displaying the rich complexities of his extraordinary arranging and composing skills.  He is truly one of a kind.

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Photo by Faith Frenz.  To see more of her photos click HERE.

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Live Jazz: Gordon Goodwin’s Big Phat Band at Vitello’s

June 10, 2012

By Michael Katz

If  you have never seen Gordon Goodwin’s Big Phat Band in a Small, Close Room, it is an experience I would heartily recommend. For sheer excitement, it is about the closest thing to actually being in the band – if you are a musician or just an air saxophone player, you will be tempted to stand up and take a solo.  Friday night, the eighteen musicians occupied every nook and cranny of the stage at Vitello’s. The guitarist seemed to be sitting in your  lap. The conga player was wedged between Goodwin’s piano and the back wall — his rhythms floating unseen from the direction of Laurel Canyon. The baritone sax player was perched just in front of the curtained stage entrance; one step backward and he could have been the Wizard of Oz. The drummer, Bernie Dresel, sat smack in the middle of  all this, cool and hip in black-rimmed glasses, looking like Steve Allen reincarnated in an argyle sweater.

If you are an acoustic purist, this may not be for you. There are just too many sounds colliding and reverberating between the low ceiling and around the walls. But that is hardly the point. This is a musical Funhouse. It’s a chance to get up close to precision section playing and scorching solos, not to mention a few young players who have infiltrated the roster of Goodwin’s veteran group of LA session men.

Gordon Goodwin’s Big Phat Band

Goodwin, who handles the arrangements and plays mostly piano now,  started this band a decade ago. He’s developed a rousing, hard swinging sound that borrows liberally from all points of the American jazz scene – over two sets Friday night there were nods to Benny Goodman, George Gershwin, Diz, Herbie and even Elmer Fudd. It’s all done with panache, humor and Goodwin’s trademark in-the-pocket groove, dominated by a front line of saxophones that doubles impressively on flutes and clarinets.

The first set featured tunes from the BPB’s most recent album, That’s How We Roll, opening up with the title cut. A typical foot-stomping Goodwin piece, it featured Francisco Torres, best known for anchoring the trombone section of the Poncho Sanchez Band, and Willie Murillo,  the lead trumpet soloist most of the night. “Howdiz Songo” followed with a lilting piano riff by Goodwin,  Joey De Leon’s congas bubbling up from behind. A couple of newer names made their presence felt: Katisse Buckingham is a fine young saxophonist who doubled on flute and Andrew Synoweic showed his versatility on guitar.

Goodwin won a 2012 Grammy for his shape-shifting arrangement of George Gershwin’s Rhapsody in Blue. Another young reed player, Kevin Garren, opened it up with a stirring clarinet solo. The tempo shifted to an aggressive swing, featuring Bob Summers on trumpet, then laid back for a Dorsey-like trombone burst from Charlie Morillas. Finally Murillo took over on trumpet as the tempo assumed a rollicking strip tease tone, perhaps not exactly what Gershwin had in mind, but who’s to say?

Singer Becky Martin, who I’d heard with Arturo Sandoval last month, stepped in for two numbers. It is especially hard belting out a tune over an 18 piece band in such a small room, but Martin carried an up-tempo version (was there anything else?) of “Cheek To Cheek” and followed with a persuasive interpretation of Dizzy Gillespie’s “Night In Tunisia,” augmented by Murillo’s homage to Diz.

There were only two ballads over the evening, placed in penultimate  positions of each set. Guitarist Synowiec had a nice casual feel to “Everlasting” in the first set with Goodwin accompanying him gracefully on the piano. The same spot in the second set brought Goodwin back on tenor sax with a samba-like rendition of “I Remember,” from the BPB’s first album. Bob Summers delivered some soulful work on the flugelhorn   with harmonic support from the woodwinds, alternating from an all flute background to a medley of saxophones. And speaking of stellar section work, the trombones, who had carried less solo work most of the night, performed beautifully in “It’s Not Polite To Point” with Jason Thor and Craig Gosnell joining Torres and Morillas in a perfect blending of the four horns.

Mostly, though, it was the rip-roaring numbers that had the capacity crowd on their feet. There was “Hunting Wabbits III,” the third variation of Goodwin’s salute to the Warner Brothers cartoon themes. “Sing Sang Sung,” which opened up the second set, is based on Goodman’s “Sing Sing Sing” and featured more great clarinet work by Kevin Garren. Lead tenor man Brian Scanlon, after losing a pad on his horn, borrowed Goodwin’s and blew through “Rippin’ N Runnin’ from the new album.  By the time the Big Phat Band finished off the night with “The Jazz Police,”  highlighted by percussionist Joey DeLeon and drummer Bernie Dresel tearing things up, the audience and band alike were on the edge of exhaustion.

Which is the way it ought to be. The next time I see this band it will be opening the main stage show at the Monterey Jazz Festival in September. I’m sure it will be great, but I won’t be sitting two feet from the band, trading eights in my mind with the horn section.

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

To visit Michael Katz’s personal blog, “Katz of the Day,” click HERE.


Live Jazz: Gordon Goodwin’s Big Phat Band at Vitello’s

February 5, 2012

By Don Heckman

The performance by Gordon Goodwin’s Big Phat Band at Vitello’s Friday night was a hearty reminder of the decades when big bands were the stars of popular music.  Some of those bands – Count Basie, Duke Ellington – were firmly rooted in jazz.  Others – Sammy Kaye, Guy Lombardo – played music primarily for dancing.  And still others – Tommy Dorsey, Benny Goodman, Glenn Miller – did both.  Something for most musical tastes, in other words, during an era in which jazz qualities were so strongly present in the music – with even the Kayes and the Lombardos occasionally dipping into jitterbug-pleasing swing rhythms – that jazz and pop music were virtually synonymous.

But no more, of course, at least since the arrival of the electric guitar.  To saxophonist/pianist Goodwin’s credit, however, he continues to keep a band alive – via the attractions of his writing and the qualities of the Phat Band’s players – that remains firmly in touch with the appealing qualities of the big Swing bands.  And thoroughly receptive to its contemporary surroundings, as well.Friday’s opening set provided an impressive display of all those qualities.  Among the highlights: Goodwin’s Grammy-nominated arrangement of Rhapsody in Blue and his original composition – also Grammy-nominated – Hunting Wabbits 3 (Get Off My Lawn).

The Gershwin classic was rendered with a rhythmic panache that energized all its inherent jazz qualities, especially aided by the clarinet work of Sal Lozano and the stunning trumpet of Wayne Bergeron.  One suspects that Gershwin would have been pleased.

So, too for Wabbits, Goodwin’s third installment of this cartoon-inspired theme, a quirky, musically whimsical reminder of how much the animation world of Bugs Bunny, Mickey Mouse and Woody Woodpecker was inspired by jazz.  Here, as elsewhere throughout the set, the band’s ever-present rhythmic vitality was propelled by the dynamic drumming of Bernie Dresel.

Another Goodwin original, “Race To the Bridge,” was a kind of jazz concerto grosso featuring each of the band’s stellar sections.  The result was a display of sheer musical excitement.

The evening’s only hiccup took place during the guest artist section, which featured singer Becky Martin and trumpeter Arturo Sandoval.  Martin was ebullient and assertive in a lively version of “Cheek To Cheek,” and Sandoval offered some of his familiar Dizzy Gillespie recollections in “Night in Tunisia.”  Neither piece, however – with the exception of a saxophone section harmonization of Charlie Parker’s famous high speed break in “Night in Tunisia” – did enough to sustain the spirited qualities of the Big Phat Band in action.

But that’s a small carp for an evening of memorable musical pleasures.  If anyone’s looking for a convincing template of how to bring the big bands back to the center of American music…check out Gordon Goodwin’s Big Phat Band.   


Picks of the Week: Nov. 15 – 20

November 15, 2011

By Don Heckman

Los Angeles

Carol Welsman

- Nov. 15. (Tues.)  Carol Welsman.  Pianist/singer Welsman makes her last L.A. area performance of the year, which makes it one not to be missed.  Hopefully she’ll play a few tunes from her soon to be released latest CD.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Nov. 16. (Wed.)  Jane Harvey.  Veteran singer Harvey, whose extensive resume begins with the Benny Goodman Band in the mid-40s, is still a remarkable performing artist.  To read Tony Gieske’s recent iRoM review of a Harvey performance, click HERE. Catalina Bar & Grill.  (323) 466-2210.

- Nov. 16. (Wed.) Herb Alpert and Lani Hall.  They’ve been a jazz/pop power couple for a long time.  But what really makes Alpert and Hall special is the charmed intimacy of the way they make music together.  Here, they perform in their very own jazz club. Vibrato Grill Jazz…etc.   (310) 474-9400.

- Nov. 17. (Thurs.)  Doug Webb.  Master reed and flute player Webb concentrates on tenor saxophone and flute, but he is equally adept at numerous other instruments.  No matter what he plays, however, he does it with style, substance and imagination.  Crowne Plaza LAX Jazz Club.  http://www.crowneplaza.com  (310) 642-7500.

Lainie Kazan

- Nov. 17 – 19. (Thurs. – Sat.) Lainie Kazan. Lainie’s done it all – stage, screen, night clubs and recordings — always with the attractive blend of emotional intensity and sardonic wit that are among her many attributes.  And when she applies it to a song…look out.  Catalina Bar & Grill.  (323) 466-2210.

- Nov. 18. (Fri.)  Riffat Sultana.  The daughter of the great Pakistani singer Salamat Ali Khan, Sultana ranges from traditional and classical ghazal and qawwali to fascinating cross-cultural blends.  The Skirball Cultural Center.  (310) 440-4500.

- Nov. 18. (Fri.)  Bruce Eskovitz Jazz Orchestra. Saxophonist, educator and clinician, Dr. Bruce is also the leader of a big band whose music reflects his quest to create music that blends rhythmic excitement and compelling ensemble textures. LACMA.    (323) 857-6000.

Song of the Angels Flute Orchestra

- Nov. 18. (Fri.)  David Shostac and the Song of the Angels Flute Orchestra.  Shostac, principal flutist with the Los Angeles Chamber Orchestra leads one of the music world’s most unique entities – an ensemble made up of the full range of flutes, from the familiar concert C flute to the extremely rare double contrabass flute.  Cypress Recital Hall at the Valley Performing Arts Center.   (818) 677-3000.

- Nov. 18 & 19. (Fri. – Sat.)  The Spirit of Django.  Gypsy jazz is at its finest in the hands of Dorado Schmitt, a guitarist with a deep understanding of the irresistible music of the legendary Django Reinhardt.  Segerstrom Center For The Arts.   (714) 556-2787.

- Nov. 18 & 19. (Fri. – Sat.)  Sketchy Black Dog. The off center blend of string quartet with piano jazz trio led by pianist Misha Piatigorsky is liable to play their own take on anything from Jimi Hendrix and Elton John to their own inimitable originals.  Blue Whale.   http://bluewhalemusic.com  (213) 620-0908.

Barbara Morrison

- Nov. 18 & 19. (Fri. – Sat.)  Barbara Morrison.  One of the Southland’s vocal treasures, Morrison has moved beyond her profound medical problems by staying in touch with the expressiveness that has always been at the heart of her music.  Steamers. http://www.steamerscafe.com  (714) 871-8800.

- Nov. 19. (Sat.) Wu Man“Return to East – Ancient Dances.”  A virtuoso player of China’s lute-like pipa, and a member of Yo Yo Ma’s Silk Road ensemble, Wu Man plays selections from the traditional repertoire, as well as the specially commissioned multi-media work, Ancient Dances.  UCLA Live at Royce Hall.    (310) 825-4401.

San Francisco

Miguel Zenon

- Nov. 15. (Tues.)  Miguel Zenon.  MacArthur grant genius award winner Zenon has been playing a lot in other bands lately.  Here’s a chance to hear this imaginative saxophonist on his own.  Yoshi’s Oakland.    (510) 238-9200.

- Nov. 16. (Wed.) Kiran Ahluwalia. Singer/composer Ahluwalia blends poetic ghazals and traditional Punjabi songs with contemporary sounds and rhythms generated by her guitarist husband, Rez Abbasi.   Yoshi’s Oakland.    (510) 238-9200.

- Nov. 16 – 20. (Wed. – Sun.)  Diane Schuur.  Deedles, as she is known and loved by fans and friends alike, has been reviving her jazz roots lately.  But that doesn’t mean that she can’t find the heart of any other style she decides to explore.  Don’t miss this rare chance to hear her up close and live.  The Rrazz Room.   (415) 394-1189.

- Nov. 18. (Fri.)  The Anonymous Four.  This female a cappella quartet has produced some of the most extraordinary examples of pre-1600 vocal music.  Heard in the Grace Cathedral, with its remarkable 7-second reverberation, their singing will produce an authentic display of the polyphonic sound and substance of early music.  Grace Cathedral.    (866) 920-5299.

Seattle

Nov. 18 – 20. (Fri. – Sun.)  Jane Monheit. Blessed with one of the most luxurious vocal instruments in jazz, Monheit isn’t often properly appreciated for the rhythmic lift and imaginative phrasing she brings to her performances.  Jazz Alley.   (206) 441-9729.

Chicago

- Nov. 17 – 20 (Thurs. – Sun.)  Kenny Barron Trio. He’s every jazz artist’s favorite pianist to have in their rhythm section.  And with plenty of good reasons – all of which are especially apparent when Barron takes the spotlight with his own music.  Jazz Showcase.    (312) 360-0234.

New York

Jim Hall

- Nov. 15 – 19. (Tues. – Sat.)  The Jim Hall Quartet.  At a time when the guitar has been making a major comeback in jazz for a decade or two, Hall – whose credentials reach back to the ‘50s – continues to be one of the instrument’s major masters.  Birdland.    (212) 581-3080.

- Nov. 15 – 20.  (Tues. – Sun.)  Chick Corea continues his epic, month long banquet of music from his long, storied career.  Tues. – Thurs: From Miles, with Eddie Gomez, Jack DeJohnette, Wallace Roney and Gary Bartz; Fri. – Sun: Flamenco Heart, with a new band of world-class Latin musicians.  The Blue Note.   (212) 475-8592.

- Nov. 16. (Wed.) John Coltrane’s Ascension. A stellar aggregation of contemporary players, led by Joe Lovano, take on one of the classic works of the adventurous jazz of the ‘60s.  The group includes Donny McCaslin, Sabir Mateen and Vincent Herring, saxophones; Jeremy Pelt, trumpet; Josh Roseman, trombone; James Weidman, piano; Ben Allison, bass; Billy Drummond and Matt Wilson, drums;   Jazz Standard.   (212) 576-2232.

- Nov. 18 & 19. (Fri. & Sat.)  Denny Zeitlin.  The psychiatrist/jazz pianist from San Francisco makes one of his infrequent stops in New York.  This time around, his considerable talents will on full display via an evening of solo piano (on Friday) followed by a trio performance with bassist Buster Williams and drummer Matt Wilson (on Saturday).  The Jazz Lounge in the Kitano Hotel.   (212) 885-7119.

Boston

Sheila Jordan

- Nov. 17. (Wed.)  Sheila Jordan and Steve Kuhn Duo.  Both Jordan and Kuhn are veteran jazz artists with careers reaching back for decades.  And an especially attractive part of that history is represented by the recordings and live performances they’ve done together.  Call it a symbiotic jazz connection.  The Regatta Bar.    (617) 661-5000.

London

- Nov. 19. (Sat.)  A Portrait of Jaco.  The Laurence Cottle Big Band performs material from Jaco Pastorious’ “Word of Mouth” band. Celebrating what would have been Jaco’s 60th birthday on Dec. 1. Ronnie Scott’s.   020 7439 0747.

Sheila Jordan photo by Tony Gieske.


Live Jazz: The Eddie Daniels Quartet at Vitello’s

October 22, 2011

By Don Heckman

Clarinetist Eddie Daniels’ masterful performance at Vitello’s Friday was – as his appearances often are – a gripping reminder of his instrument’s adventurous jazz past, present and future.

Eddie Daniels

For the first half of the jazz century, the clarinet was one of the music’s key voices.  Vital to the New Orleans style, a virtual celebrity instrument in the hands of Swing bandleaders such as Benny Goodman, Artie Shaw and Woody Herman, its presence remained high, until it ran into hard times – and diminished interest — with the arrival of bebop in the ‘40s and beyond.

A few hardy souls labored on through the forests of bop, with Buddy DeFranco one of the principal pathfinders.  Others arrived over the next few decades, with the numbers of adroit clarinetists increasing in recent years.

Daniels, who was celebrating his 70th birthday two days earlier, has been producing memorable work – on tenor saxophone, as well as clarinet – since he arrived on the scene with the Thad Jones–Mel Lewis Orchestra in the mid-‘60s.  An authentic classical artist as well as a superb improvising musician, the only thing missing from his Vitello’s performance would have been his own unique take on something such as the Larghetto from the Mozart Clarinet Quintet.

Tom Ranier, Eddie Daniels, Darek Oles

But no matter.  What renaissance man Daniels did play was largely astounding, sometimes even more than that.

Joe LaBarbera

Start with his utter mastery of an instrument whose technical demands more often produce mediocre results than the sort of articulate clarity that Daniels tossed off with almost casual ease.  Backed by the confident, interactive support of pianist Tom Ranier, bassist Darek Oles and drummer Joe LaBarbera, he concentrated upon clarinet – except for a pair of jovial jaunts on his tenor saxophone through “They Say That Falling In Love Is Wonderful” and an original Daniels piece that somehow managed to convincingly blend tango with bossa nova.

Tom Ranier

Among the clarinet highlights: Ranier’s delightfully re-invented version of the old Benny Goodman classic, “Stealin’ Apples”; and a wildly audacious flight through an equally new-view version of Charlie Parker’s “Bye-Bye Blues.”

And ultimately it was Daniels’ clarinet soloing that dominated the spotlight – as it should.  One fleet solo after another, rendered with an irresistible flow of swing, affirmed his consummate blend of dexterous technical skills and vivid improvisational inventiveness.

No wonder that, with Daniels in the forefront, the clarinet once again seems to be finding its rightful place in the jazz hierarchy.

Photos by Bob Barry.  To view more of his jazzography, click HERE.


Picks of the Week: Oct. 4 – 9

October 3, 2011

By Don Heckman

Los Angeles

Patti Lupone

- Oct. 4. (Tues.) Patti Lupone. The versatile, two-time Tony Award winning artist presents “Gypsy in My Soul,” a set of songs illuminating her life on and off stage.  Royce Hall.    (310) 825-2101.

- Oct. 5 & 6. (Wed. & Thurs.)  Further (Phil Lesh and Bob Weir)  The spirit of the Grateful Dead still lives in the playing of Lesh and Weir.  Expect to hear familiar classics and experience an irresistible Grateful Dead jam.  Greek Theatre.    (323) 665-5857.

- Oct. 6. (Thurs.) Patty AscherBossa, Jazz ‘n’ Samba.  Sao Paulo’s Ascher lays it all out in the title of her approach to Brazilian music.  Richly experienced in both Brazilian music and jazz, she combines the two in her own uniquely appealing fashion.  Vitello’s.    (818) 769-0905.

- Oct. 6. (Thurs.)  Trombone Shorty and Orleans Ave. Trombone Shorty (who also plays scintillating trumpet) has brought Hollywood Bowl crowds to their feet at Playboy Jazz Festivals.  Here’s a chance to experience that energy up close and personal.  The El Rey.    (323) 936-6400.

- Oct. 6. (Thurs.)  Fabiana Passoni. It’s a great night for Brazilian music in L.A.  Passoni has survived challenging health problems to establish a fascinating, utterly unique blend of Brazilian and American musical forms.   Catalina Bar & Grill.  (323) 466-2210.

- Oct. 7. (Fri.)  Tamela D’Amico with the Pat Longo Big Band.  Multi hyphenate D’Amico – a jazz singer, actress, director and producer – takes a break from her other activities to display her appealing interpretations of American songbook classics, backed by Longo’s stirring big band charts.  Catalina Bar & Grill.  (323) 466-2210.

Merle Haggard and Kris Kristofferson

- Oct. 7. (Fri.)  Merle Haggard and Kris Kristofferson.  A pair of country music’s iconic figures get together for a rare and, no doubt, wonderful tour through their well known classics.  Greek Theatre.    (323) 665-5857.

- Oct. 7. (Fri.)  Kevin Mahogany.  At a time when male jazz singers have been in relatively short supply, Mahogany continues to apply his rich sound and easygoing swing to everything he sings.  Culver’s Club for JazzAt the Double Tree L.A. Westside Hotel.   (310) 649-1776 Ext. 4137.

- Oct. 7. (Fri.)  Amanda McBroom and Lee Lessack.  A classic night of cabaret, at its very best.  McBroom’s expressive storytelling finds the inner heart of everything she sings; Lessack adds appealing interpretations from his own, different, but appealing perspective.  Ford Amphitheatre.  (323) 461-3673.

- Oct. 9. (Sun.)  Josh Nelson & Pat Senatore Duo.  An intriguing cross generational encounter, between pianist Nelson’s vibrant, thoughtful style and Senatore’s richly mature foundation.  Call it an evening of deep musicality. Vibrato Jazz Grill…etc.   (310) 474-9400.

San Francisco

- Oct. 5. (Wed.)  Mingus Amungus.  Bay area-based Mingus Amungus continue to be one of the most effective celebrants of Charles Mingus’ music, bringing it to life in a way that would surely have pleased Mingus himself.  Yoshi’s San Francisco.   (415) 655-5600.

Baaba Maal

- Oct. 5 & 6. (Wed. & Thurs.)  Baaba Maal.  Senegalese master Maal performs an unplugged and impromptu set of his music, after a discussion of his life and times with music journalist Chris Salewicz.  Yoshi’s Oakland.  /show/2112  (510) 238-9200.

Seattle

- Oct. 6 – 9.  (Thurs. – Sun.)  The Family Stone.  Original members of Sly & the Family Stone revive some of the biggest hits of the seventies – “I Want To Take You Higher,” “Everyday People” and “Dance to the Music” among them.  Jazz Alley.  (206) 441-9729.

Chicago

- Oct. 6 – 9. (Thurs. – Sun.)  Eric Alexander with the Harold Mabern Quartet. Hard-driving, intensely articulate saxophonist Alexander finds the right backing for his powerful style in pianist Mabern.  Jazz Showcase.    (312) 360-0234.

New York

- Oct. 4 – 9. (Tues. – Sun.) Italian Jazz Days.  The Anthony Ciacca Quintet. One of the highlights of a weeklong celebration of the prominent role Italian jazz musicians have played in the expansion of contemporary jazz.  With trumpeter Dominic Farinacci, saxophonist George Garzone, guitarist Steve Kirby and Special GuestsDizzy’s Club Coca Cola.    (212) 258-9800.

- Oct. 7 – 9. (Fri. – Sun.)  Larry Goldings, Peter Bernstein, Bill Stewart. An All-Star Organ trio would be the proper label for this impressive group of young players, as they bring new delights to one of jazz’s classic instrumental formats.  Jazz Standard.    (212) 576-2232.

Washington D.C.

Roy Hargrove

- Oct. 5 – 9. (Wed. – Sun.)  The Roy Hargrove Quintet. Grammy-winning trumpeter Hargrove’s busy schedule reaches from his big band to solo outings.  And, especially, to his excursions across the length of contemporary jazz with his own quintet.  Blues Alley.   (202) 337-4141.

Boston

- Oct. 7 & 8. (Fri. & Sat.)  Robert Glasper. Pianist Glasper has established himself as a musical voice capable of reaching across genre boundaries to attract young audiences to jazz.  His current group features Derrick Hodge, bass, with Mark Colenburg, drums.  The Regatta Bar.    (617) 661-5000.

Paris

- Oct. 6. (Thurs.)  Pat Martino. Guitarist Martino had to literally learn to play his instrument again after a brain aneurysm in 1980.  Incredibly, he did so with astonishing success, thoroughly establishing himself as one of the principal creative voices among the large array of contemporary jazz guitarists.  New Morning.  01 45 23 51 41.

Tokyo

Carol Welsman

- Oct. 4. (Tues.)  Carol Welsman with Ken Peplowski and the Benny Goodman Orchestra. Pianist/singer Welsman is a superb jazz artist in her own right. Here, she takes a different role, performing many of Peggy Lee’s familiar Swing Era hits with the Goodman Orchestra.  Nakano Sun Plaza.   03 3388 2893.

- Oct. 6 – 8. (Thurs. – Sat.)  Tania Maria.  Grammy-nominated, Brazil-born singer/pianist Maria has been a dynamic figure in the crossover area between jazz and Brazilian music since the ‘70s.  And she’s still going strong.  Blue Note Tokyo.    03 5485 0088.


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