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

By Don Heckman

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

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

Bob Sheppard, Putter Smith, Dontae Winslow

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

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

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

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

Steve Huffsteter, Pat Senatore, Tom Peterson

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

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

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

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

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

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

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Photos by Faith Frenz.

Live Jazz: The Arturo Sandoval Big Band Performs for the California Jazz Foundation at Catalina Bar & Grill

By Don Heckman

Hollywood, CA.  “Let’s Give the Band A Hand” was the title for the jazz celebration at Catalina Bar & Grill Sunday night.  It was right on target.  The program was the annual fund-raiser for the California Jazz Foundation.  And the very worthy honoree was Catalina Popescu.  Both the CJF and Catalina have been “giving the band a hand” for years.

The celebration began late in the afternoon with cocktails on the outdoor patio and music by the Keith Jones Trio.  At dinner time, everyone moved inside the club for an evening of feasting, opening with a performance of the youthful, but very promising players of  “The Next Route”  and climaxing with the Arturo Sandoval Big Band.

Catalina Popescu

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Before the music began, Catalina received her much deserved award from the CJF, there was a fund-raising auction and the brief acknowledgment of a few of the numerous jazz supporters and celebrities in the audience.

But the musical high point of the event was the dynamic performance by Sandoval and the world class players in his Big Band.

The program included a few selections from a Sandoval performance at Catalina’s last November.  But both Sandoval and his players performed at such a high level that there was no sense of redundancy.

As usual, Sandoval’s far-ranging virtuosity was on full display.  His trumpet playing was extraordinary.  From a lush “Cherry Pink and Apple Blossom White” to an energetic and sometimes humorous duet on “And Then She Stopped” with trumpeter Gary Grant and another duet on “Waynard and Maynard,” originally written for Wayne Bergeron and Maynard Ferguson, here performed by Wayne and Arturo.

Arturo Sandoval and Wayne Bergeron

He also sang, in convincing ballad style, his own tune, “Every Day I Think of You,” inspired by his mentor, Dizzy Gillespie, and backed by a warm undercurrent of fills from tenor saxophonist Bob Sheppard.

On an untitled blues, Sandoval led the band through an improvised, on the spot arrangement, assembled spontaneously as he gestured to different soloists and sections, winding up with something resembling a Count Basie big band jam.  For “All the Things You Are,” featuring solos from alto saxophonist Dan Higgins and trombonist Bob McChesney, Sandoval showcased his impressive piano chops.  And in the closing fireworks of “Mambo Caliente,” he switched to timbales, displaying equally remarkable percussion skills.

Other high points of the evening included Higgins’ playing and arranging on the gorgeous saxophone soli of “The Man I Love,” and the bop-driven “Algo Bueno,” as well as Rusty Higgins’ expressive rendering of “Body And Soul.”

All in all, a remarkable collection of music, superbly performed.  And the only surprise was the early departure of many members of the audience – unexpected for a crowd that was presumably dedicated to jazz.  (Maybe not so surprising in Los Angeles, where people have been known to leave Dodger stadium in the seventh inning of a tie game to beat the traffic.)

But, beyond the pleasures of the music and the award to Catalina Popescu, the important aspect of the evening was the fund-raising for the California Jazz Foundation and its dedicated efforts to keep food on the table and a roof over the heads of the many needy jazz players and singers.

To learn more about the work of the California Jazz Foundation, click HERE.

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Photos by Bob Barry.

Live Jazz: Lauren White at Vitello’s

By Don Heckman

Studio City CA.  A loudly expressive full house crowd was waiting for singer Lauren White when she came on stage Saturday night at Vitello’s.  Which was somewhat of a surprise, given White’s still emerging visibility as a jazz artist.  But, although she hasn’t yet found the full audience her singing deserves, she has begun to receive considerable critical accolades.  Veteran jazz critic Scott Yanow has described White as “poised to make a strong impact on the jazz world.”

That achievement may take a little while, but her performance at Vitello’s was filled with enough intriguing moments to underscore White’s impressive potential.

Lauren White

Her program was largely devoted to selections from her new album, Meant To Be. And the far reaching selections underscored the musical curiosity and eclectic interpretive range that are essential elements in White’s growing skills.  Among the many highlights: Matt Dennis’ classic jazz ballad, “Angel Eyes”; Dave Frishberg and Alan Broadbent’s “Heart’s Desire”; Stephen Sondheim’s “Now You Know:’ Bernard Ighner’s Everything Must Change”; and Ivan Lins’ gorgeous “Meant To Be (“Saudades de Casa”), with English lyrics by Lani Hall.

That’s a remarkable collection of  songs, by any definition, and there were that many more, equally remarkable.  White has been described accurately as an adept practitioner in cabaret as well as jazz, with both skills amply present in the selections she chose for her virtually non-stop 90 minute program.

She was backed superbly by pianist Quinn Johnson, saxophonist/flutist Bob Sheppard, bassist Trey Henry and drummer Kevin Winard.  The well-crafted arrangements by Johnson provided precisely the right settings, with brightly rhythmic swing on the faster tunes, and lush, impressionistic harmonies on ballads, enhanced by the soaring tones of Sheppard’s flute.

Lauren White and Trey Henry

At her best, White made the most of her warm voice and embracing vibrato.  Occasionally, she called up memories of the late Irene Kral.  Although she is a few steps away from the memorable interpretive accomplishments of Kral, White approached each of her selections with a similarly determined effort to reach into the heart of a song.

Often, she succeeded admirably in finding the emotional center of that inner heart beat.  Occasionally, especially in the more unfamiliar numbers, she appeared to be more focused on the beauty of her sound rather than the intimacy of the lyrics.

But she’s on her way.  And when White’s musical story telling skill reaches its fullest level of expressiveness, she may well be positioned to fulfill Yanow’s description of her potential “impact on the jazz world.”

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Photos by Faith Frenz.

Live Jazz: The Wolff and Clark Expedition at Vitello’s

By Michael Katz

I’m going to tell you about the second set at Vitello’s Saturday night, featuring the Wolff & Clark Expedition, led by pianist Michael Wolff and drummer Mike Clark. Not that there was anything wrong with the first set. It was, in fact, quite wonderful. It’s just that some of you were no doubt at the first set, and I don’t want to be redundant. The second set, I believe, is my exclusive. A scoop, even.

I know, I know. The second Final Four game didn’t end until nine o’clock or so. That pretty much took care of your evening. And you’ve got lots to do on Sunday morning. LA is just not a late night town, not a great sign for a late night art. So here’s a little of what you missed.

Michael Wolff meandered to the stage while the rest of the band was still milling around, bidding adieu to a few first set stragglers.  He treated the scattered crowd to some lovely solo piano, breathing life into his composition “Portraiture,” until Mike Clark joined him with some textured backing and turned it into a duet. By this time bassist Tony Dumas and guest soloist Bob Sheppard had come back to the stage. Sheppard stepped into a robust tenor introduction to “Song For My Father.” The Horace Silver standard is one of the featured songs on the new Wolff & Clark Expedition CD, which artfully mixes standards like “What Is This Thing Called Love,” and “Hummin’” with original compositions. It’s a trio album, and in the first set it took Sheppard some time to find his way into the arrangements. But “Song For My Father” was a perfect vehicle for him. Perhaps because we’re familiar with the Leon Thomas vocal version, the sound of the tenor feels both familiar and specific to Sheppard’s improvisations. Wolff, meanwhile, countered with his own dark underpinnings, taking the narrative back, while Dumas set the tone behind him.

Michael Wolff and Mike Clark

“Mercy, Mercy, Mercy” is a staple in the Wolff oeuvre, dating back to his mid-seventies days with the Cannonball Adderley band. For the CD, he and Clark added an insistent counter tone to the intro, giving the line some extra verve, and freeing up Mike Clark to do some pulsating stick work behind the groove. Like the Lennon-McCartney song “Come Together,” which they performed in the first set, it’s such a recognizable line that it keeps your mind occupied while the players improvise around it, though “Mercy” has that added Zawinul funk that keeps it fresh after all this time.

It’s fun listening to Wolff, Clark et al turn these standards inside out and still bring them home in more or less one piece, but I do want to point out the compositional skills, particularly of Michael Wolff. There are several originals of his on the new CD, including “Elise,” written for his mother, which he performed in the first set.  It’s a brief, lilting melody, extended nicely in live performance with sensitive support from Clark and Dumas.

But I digress. The band has been bringing in guests throughout their tour, and Mike Clark recounted Jimmy Heath’s date with them at Dizzy’s Club Coca Cola in New York. They played Heath’s “Gingerbread Boy” there, and recreated it here with Bob Sheppard on soprano sax.  It was a fitting recipe for closing out a late night set. Sheppard soared through hard bop lines on the soprano, completely in control of the instrument’s tonal challenges. Clark, the former Headhunters drummer, agile and inventive as always, had plenty of room to stretch out, driving the pace from the opening downbeat. Tony Dumas, with an insistent bass, kept things alive from underneath. And then there was Michael Wolff with riff after riff, darting through his arpeggios, taking the theme home.

So that was it, not a lengthy set but a memorable one, the kind of thing that happens when a couple of touring stars combine with the type of local talent available in few places outside of LA. It’s what happens when the musicians have an extra hour to find their way with compositions and arrangements new to some and familiar to others.

It is why some of us always stick around.

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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.

Picks of the Week: April 2 – 7

By Don Heckman

Los Angeles

Bobby McFerrin

- Apri. 3. (Wed.)  Bobby McFerrin.  One of the music world’s most uniquely gifted vocal talents, applying his startling skills to a celebration of his father’s gospel singing in a program titled Spirit You All.  Disney Hall.   (323) 850-2000.

- April 3. (Wed.)  Dave Damiani and the No Vacancy Orchestra.  Singer Damiani revives the music of Sinatra and the Rat Pack in an introduction of his latest CD, Watch What Happens.  Catalina Bar & Grill. (223) 466-2210.

- April 3. (Wed.) Sara Gazarek/Josh Nelson Duo. A promising musical encounter between singer Gazarek and pianist Nelson, two of the current jazz generation’s most gifted talents.  Vitello’s.    (818) 769-0905.

- April 5 (Fri.) Vadim Repin in recital. Russian-Born (now a Belgian citizen) violinist Repin was described by Yehudi Menuhin as the “best and most perfect violinist that I ever had a chance to hear.”  He performs Brahms, Janacek, Grieg and Ravel with the accompaniment of pianist Andrei Korobeinikov.  Valley Performing Arts Center.    (818) 677-8800.

Cheryl Bentyne

- April. 5. (Fri.)  Cheryl Bentyne.  Up Close and Personal.  Back in action after surviving a life threatening illness, Bentyne – a valued member of the Manhattan Transfer — illustrates the irresistible appeal of her captivating solo skills.  Vitello’s.   (818) 769-0905.

- April 5 & 6. (Fri. & Sat.)  Helen Reddy. One of the great pop vocal stars of the ‘70s, Australian Reddy makes one of her extremely rare performances.  Hopefully we’ll hear her revisit “I Am Woman” among her many other hits. Catalina Bar & Grill.  (223) 466-2210.

- April. 6. (Sat.)  The Wolff and Clark Expedition.  Veteran pianist Michael Wolff and drummer Mike Clark, long time musical companions, team up with L.A. jazz stars Bob Sheppard, saxophones and Tony Dumas, bass.  Vitello’s.   (818) 769-0905.

Katia Moraes

- April 6. (Sat.)  Katia Moraes and Brazilian Heart Music.  “Clara Nunes, A Celebration.”  One of the Southland’s most consistently fascinating Brazilian artists, Moraes visits the memorable music of  ‘70s Brazilian hit-maker Clara Nunes. As always, Moraes’ interpretations will simmer with the dynamic energy of her own, unique expressiveness.  Brasil Brasil Cultural Center.  11928 W. Washington Blvd, Los Angeles, CA 90066.  (310) 397-3667

- April 7. (Sun.)  Mark Winkler CD Release party.  The Laura Nyro Project.  Always in search of adventurous territory for his jazz-based vocals, Winkler celebrates the release of a new CD featuring his imaginative takes on the Laura Nyro songbook. Catalina Bar & Grill.  (223) 466-2210.

San Francisco

Stanley Clarke

- April 5 – 7  (Fri. – Sun.)  The Stanley Clarke Band.  Bassist Clarke always follows his own pathways, accompanied by stellar musical aggregations.  This time, he’s traveling with John Beasley, piano, Kamasi Washington, saxophone and Ronald Bruner, Jr., drums.  Yoshi’s Oakland.    (510) 238-9200.

Washington D.C.

- April 6 & 7. (Sat. & Sun.)  James Carter Organ Trio.  Multiple reed and woodwind player Carter focuses his wide angle musical perspective on hard driving timbres of the classic jazz organ trio instrumentation.  Blues Alley.   (202) 337-4141.

New York City

- April 2 – 7. (Tues. – Sun.)  Enrico Pieranunzi.  Pianist Pieranunzi has been, since the ‘70s, one of the European jazz pianist most favored by touring American musicians.  Here he’s in the leader’s role himself, backed by Marc Johnson, bass and Joe La Barbera, drums.  The Village Vanguard.     (212) 255-4037.

Randy Weston

- April 4 – 7. (Thurs. – Sun.)  Randy Weston African Rhythms Quintet 87^th Birthday Celebration. Pianist/composer Weston’s fascination with African musical culture continues to produce some of the most fascinating revisits to the deepest jazz roots. And, at 87, he still does so convincingly.  Jazz Standard.    (212) 576-2232 .

London

- April 6. (Sat.)  The London Supersax Project. Alto saxophonist Med Flory was the first to assemble a saxophone section and rhythm section to play harmonized versions of Charlie Parker solos.  Here’s the U.K. version, delivered with the same love of bebop.  Ronnie Scott’s. r  +44 20 7439 0747.

Copenhagen

- April 3 & 4. (Wed. & Thurs.)  Diego Figueiredo and Cyrille Aimee. The imaginative duo of guitarist Figueiredo and singer Aimee have already released two albums displaying their far-reaching musical interests, from jazz and bossa nova to looping electronica.  Jazzhus Montmartre.    +45 31 72 34 94.

Milan

- April 3 & 4. (Wed. & Thurs.)  Steve Lukather.  Multiple Grammy-winning guitarist has recorded tracks on more than 1,500 albums, and continues to contrast first-call gigs as a sideman with leadership of his own bands.  The Blue Note Milano.    +39 02 6901 6888

Tokyo

Clementine

- April 6 & 7. (Sat. & Sun.)  Clementine.  The French singer and song writer Clementine lives in Japan, where her richly diverse style, blending cabaret, jazz, bossa nova and pop has generated a large, enthusiastic following.  The Blue Note Tokyo.     +81 3-5485-0088.

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Bobby McFerrin photo by Carol Friedman.

Picks of the Week: Mar. 27 – 31.

By Don Heckman

Los Angeles

Sascha’s Bloc Band

- Mar. 27. (Wed.)  Sascha’s Bloc.  A gifted group of players, many from Russia and/or Eastern European backgrounds, showcasing music that crosses easily and compellingly across lines of genre and tradition.  Led by the dynamic guitar playing of Alex (Sascha) Gershman, with the intimate vocalizing of Carina Coper.  Vibrato Grill Jazz…etc.  (310) 474-9400.

- Mar. 27. (Wed.)  The Scott Healy Ensemble.  Pianist/composer Healy leads a compact, but richly expressive, ten piece ensemble in selections from his classically tinged, highly praised Hudson City Suite. Vitello’s.    (818) 769-0905.

Ginger Berglund and Scott Whitfield

- Mar. 28. (Thurs.) Ginger Berglund and Scott Whitfield.  Ginger and Scott’s musical legacy reaches back to the Pied Pipers and the Modernaires, filtered through their own jazz instincts, with traces of Jackie Cain and Roy Kral.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Mar. 29. (Fri.)  Kim Richmond Concert Jazz Orchestra.  Saxophonist Richmond leads a fine aggregation of Southland players in A Tribute to Stan Kenton.  REDCAT.   (213) 237-2800.

- Mar. 29 & 30. (Fri. & Sat.)  Charles Wright and the Watts 103 St. Rhythm Band.  The pioneering funk and soul band, led by guitarist Wright, revive some of their many hits from the late ‘60s and early 70s.  Catalina Bar & Grill.   (323) 466-2210.

- Mar. 30. (Sat.) A Ttribute to Charlie Haden.  Bob Sheppard, Billy Childs, Peter Erskine, Darek Oles get together to honor the remarkable career and superb playing of bassist Haden, whose health conditions over the past few years have limited him to rare public performances.  Vitello’s.   (818) 769-0905.

- Mar. 30. (Sat.)  Nikhil Korula.  Singer/guitarist Korula, who concentrates on acoustic rock, makes a rare solo acoustic appearance, performing a program of original compositions and rock classics.  Witches Brew in North Hills.  (818) 892-1480.

- Mar. 30. (Sat.)  and April 4 – 7. (Thurs. – Sun.)  Trisha Brown Dance Company. An adventurous choreographer since the ‘70s, Brown’s Company performs her Floor of the Forest on Saturday night – the first event in The Retrospective Project, a collection of her works unfolding over the following week. Royce Hall CAP UCLA.     (310) 825-2101.

Charmaine Clamor

- Mar. 31. (Sun.) Charmaine Clamor.  Reaching beyond her Filipino background, Clamor has thoroughly established herself as one of the most imaginative, and utterly listenable, jazz voices of the decade (and beyond).  “Hallelujah,” her Easter show, displays the full range of her remarkable vocal expressiveness. Catalina Bar & Grill.   (323) 466-2210.

- Mar. 31. (Sun.)  John Proulx Trio. Pianist Proulx has long been a first call rhythm section player.  But in recent years, his mellow vocalizing has positioned him as a Chet Baker-influenced singing instrumentalist. Vibrato Grill Jazz…etc.   (310) 474-9400.

San Francisco

- Mar. 29 & 30.  (Fri. & Sat.)  Rita Coolidge.  Grammy winning, hit-making Coolidge peaked during the ‘70s with hits in pop, country and jazz charts.  In her late ‘60s, she’s still going strong.  Yoshi’s San Francisco.    (415) 655-5600.

Seattle

- Mar. 28 – 31. (Thurs. – Sun.)  Holly Cole.  Canadian jazz singer Cole has been charting an original vocal pathway since the ‘90s.  She’s currently supporting her latest album, Night. Jazz Alley.    (206) 441-9729.

New York City

Kyle Eastwood

- Mar. 26 – 31. (Tues. – Sun.)  Kyle Eastwood Group and the Larry Coryell Group. It’s a generationally contrasting evening: featuring 44 year old jazz bassist and composer Eastwood, and 69 year old guitarist Coryell.  Expect to hear diverse sounds.  The Blue Note.    (212) 475-8592.

- Mar. 28 – 31. (Thurs. – Sun.)  The Dave Douglas Quintet.  50th Birthday Week. Trumpeter Douglas celebrates his anniversary in the sterling musical company of Jon Irabagon, tenor saxophone, Matt Mitchell, piano, Linda Oh, bass and Rudy Royston, drums.   The Jazz Standard.   (212) 576-2232.

London

- Mar. 31. (Sun.)  The Humphrey Lyttelton Septet.  Trumpeter and arranger Lyttelton died in 2008 after celebrating 60 years as a bandleader.  But the band has carried on with Humph’s tradition of providing entertaining evenings of jazz and beyond. Ronnie Scott’s.    +44 20 7439 0747

Milan

- Mar. 30. (Sat.)  Maria Pia De Vito & Ares Tavolazzi Duo.  Vocalist/composer De Vito and bassist Tavolazzi have both worked in crossover and avant-garde areas of contemporary music.  Expect intriguing musical results from their duo partnership.  Blue Note Milano.    +39 02 6901 6888.

Tokyo

Tuck & Patti

- Mar. 26 – 28. (Tues. – Thurs.)  Tuck & Patti. Guitarist Tuck and singer Patti have been a couple – in life and in music – for more than three decades.  And their engagingly intimate music continues to be one of the pleasing marvels of contemporary jazz and pop. Blue Note Tokyo.    +81 3-5485-0088.

Live Jazz: The John Beasley MONK-estra Upstairs at Vitello’s

By Don Heckman

Studio City, CA.  John Beasley described the 18 piece ensemble he brought to Vitello’s Wednesday night as a MONK’estra.  He also called it “A Big Modern Jazz Band.”

Both labels were right on target for this performance.  First, the great majority of the program was dedicated to the music of Thelonious Monk.  Second, Beasley’s arrangements, combined with superb individual soloing from virtually every musician, resulted in a definitive display of “Big,” “Modern” and “Jazz Band.”

The John Beasley MONK-estra

The Monk pieces – including such classics as “Epistrophy,” “Little Rootie Tootie,” “Skippy” and “Ask Me Now” – were at their best when Beasley conceived big band settings enhancing, expanding and elaborating on the Monk originals. Often he captured Monk’s unique quirkiness, the offbeat accents, punchy dissonances and surprisingly soaring melodies.  And he did so with stunningly atmospheric ensemble textures, powerfully driven by the propulsive rhythm team of bassist Ricky Minor, drummer Ronald Bruner, Jr., and Beasley’s own melodica playing.

Justo Almario, Ricky Minor, John Beasley

The performance occasionally recalled a famous 1959 concert at New York’s Town Hall, in which Monk performed with a tentet, playing arrangements of his music written by Hall Overton.  But the presence of Monk in the ensemble — along with Overton’s occasional arrangements of previously recorded Monk solos for the horns — was very different from the scope of Beasley’s big band charts.

With maximum-sized horn sections – five trumpets, five doubling saxophones and four trombones – Beasley’s arranging moved into expansive, orchestral textures reaching well beyond both the Overton arrangements and familiar big band riffing.  Like Bill Holman, he worked within his own musical dialect.  Even in the pieces based on Monk works, he found intriguing ways to apply his imaginative perspectives to Monk’s music.

The saxophone section players –  Bob Sheppard, Jeff Driskill, Justo Almario, Tom Luer and Bob Carr – were often called to double on clarinets (including a pair of bass clarinets), bringing a lush, fluid sound to many passages.  Adding more timbral contrast, the trombonists –  Francisco Torres, Wendell Kelly, Andy Martin and Steve Hughes – as well as the powerful trumpet team (Bijon Watson, Jamie Hovorka, Ray Monteiro, Brian Swartz and Gabe Johnson) were frequently asked to play with various mutes.

Interestingly, one of the many appealing products of Beasley’s envelope-stretching arrangements was some equally imaginative soloing from players who clearly seemed stimulated by their musical environment.  The net result was some of the most mesmerizing big band music – individually and collectively – of recent memory.

The only reservation about this remarkable evening was the thought that Beasley’s choice of the title “MONK-estra,” along with the decision to focus so strongly on Monk’s music, had too narrowly delineated his obviously extraordinary orchestrating abilities.  The few pieces that were not based on Monk’s works revealed Beasley’s capacity to deliver the broader, more expansive definition of what he also calls his
”Big Modern Jazz Band.”  It will be fascinating to see what he can do if he moves more convincingly in that distinctive, more personally expressive direction.

Photos by Bobby Colomby.

Live Jazz: A Busy Friday Night at Vitello’s and the Out Take Bistro

By Don Heckman

Studio City, CA.  Sometimes a music reviewer just has to do a lot in a single night – often unexpectedly.  As I did on Friday.  Even though it hadn’t actually started out that way.

My schedule for the evening originally included a stop at Vitello’s  to hear the Bill Cunliffe big band in action.  I”d written about the band fairly recently, but with Cunliffe nominated for a Grammy in today’s 2013 Awards (after winning a statuette in the 2012 Grammys), it seemed a good time to give another listen to his richly textured big band writing.  Add that the fact that he’d promised to include more selections from his jazz interpretation of J.S. Bach’s Goldberg Variations, and it was a performance that clearly offered some fascinating musical attractions.

The most gripping big band arrangements and compositions are usually well crafted combinations of inspired writing and inventive soloing.  And Cunliffe’s composing and arranging have always blended those qualities into irresistibly appealing musical banquets, enhanced by the playing of a world class assemblage of Southland players.

The Bill Cunliffe Big Band

On this night, as always, the Cunliffe band was overflowing with fine artists.  All deserve mention for their ensemble and solo playing.  But I have to highlight the especially impressive work of Bob Sheppard, playing lead alto (and lead soprano) in the saxophone section, the strong tenor saxophone soloing of Rob Lockart and Jeff Ellwood, the always superb trumpeting of Bob Summers and Carl Saunders, the equally sterling trombone work of Bob McChesney and Andy Martin, and the propulsive rhythm section work of drummer Joe LaBarbera, bassist Jonathan Richards and guitarist Larry Koonse.

Bill Cunliffe

The first part of the set was mostly dedicated to Cunliffe’s originals, which roamed freely across a gamut of styles, delivering them with convincing jazz authenticity.   Next, a pair of vocals added a different perspective: first, Dawn Bishop soaring through “The Devil and the Deep Blue Sea”; next, April Williams – who, as Vitello’s jazz producer, has transformed the club into a major jazz venue – sang a delightfully evocative version of “You Can Always Count On Me” from the musical City of Angels.  Listening to her, one couldn’t help but wish that she would make more singing appearances in the room, especially with the musical theatre material she does so well.

There was also an unexpected, but welcome performance by a guest artist – trombonist/composer Chris Brubeck.  Nominated (with his late father, Dave Brubeck) for a Grammy in the same category as Cunliffe, Chris was invited to share the stage the day before the Awards.  Chris responded with a warmly ingratiating trombone solo on the lovely ballad written by his father and mother, “In Your Own Sweet Way.”

The Cunliffe Band’s set closed with his re-imagining of the Bach Goldberg Variations, which he has re-titled The Goldberg Contraption.  But it was far more than a “Contraption” – more like a smoothly functioning Swiss watch, with Cunliffe’s transformation of Bach’s flowing harmonies and shifting counterpoint into an utterly believable jazz framework.

And there was more on the Vitello’s agenda before we could leave.  When the Cunliffe Band set concluded in the upstairs room, more jazz sounds were heard downstairs, where pianist John Campbell was playing for late diners and bar-hoppers in the club’s just-added musical setting, “Downstairs Piano Nights.”  No one interprets the Great American Songbook with more imaginative readings than Campbell.  And, even in a room filled with chatting listeners, he easily managed the demanding task of entertaining his audience, while approaching each song with fascinating creativity.

Cat Conner

But we had another stop to make before our evening was over.  Leaving Vitello’s, heading straight down Tujunga to a right on Ventura Blvd., we quickly arrived for the last few tunes at the Out Take Bistro.    It’s a Friday night gig usually featuring “Cat & Cip” — the vocals of Cat Conner and the saxophone and clarinet of Gene “Cip” Cipriano.

On this night, however, they were joined by a stellar array of players in a virtual jam session format.  The group included trombonist Dick Nash and guitarist John Chiodini (frequent partners of Cat and Cip), as well as clarinetist Alex Budman, soprano saxophonist John Altman and trumpeter Brian Swartz.

Gene Cipriano and John Chiodini

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We arrived just in time for an all-join-in jam on “Take the A Train” allowing plenty of space for the talented crew to stretch out.  And the final wrap up reached out to feature Cat’s warm, engaging vocal in a jaunty song reaching back more than a hundred years – “Hello, Ma Baby.” It was the perfect ending to a musical evening embracing everything from big band jazz and the music of J.S. Bach to the Great American Songbook, ragtime, and beyond.

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Photos by Faith Frenz.

Picks of the Week: Jan. 30 – Feb. 3

By the iRoM Staff

Los Angeles

Don Williams

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

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

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

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

Branford Marsalis

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

San Francisco

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

Seattle

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

New York

John Pizzarelli

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

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

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

Berlin

Lily Dahab

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

Live Jazz: the Bob Sheppard/Otmaro Ruiz Quartet at Vitello’s

By Don Heckman

Studio City, CA.  On any given night in Los Angeles, world class jazz can be found in venues stretching from Orange County to Ventura County, with many stops in between.  And Saturday night was no exception, when the prime quartet of saxophonist Bob Sheppard and pianist Otmaro Ruiz (with bassist John Belzaguy and drummer Jimmy Branly) performed a stirring program at Vitello’s in Studio City.

The selections were varied – Horace Silver’s “Barbara” and Bernie Miller’s “Bernie’s Tune” among them, in addition to originals from both Sheppard and Ruiz.

But the highlights of the evening virtually all traced to the jam session-like improvising, allowing each of the players to stretch out in completely spontaneous fashion.  Sheppard was, as always, articulate, expressive and imaginative, on both tenor and soprano saxophones.  Ruiz’s eclectic style added Latin touches to his solos, occasionally tossing in a rousing montuno in contrast to his authentically boppish single note lines.

Otmaro Ruiz, John Belzaguy, Bob Sheppard, Jimmy Branley

Give credit, as well, to the rhythm team of Belzaguy and Branley, the engine that kept the band in high gear for most of the set.

What was missing, however, was very little reference to the music promised in the advertising for the evening: “Celebrate the Season! – Latin Night – Feliz Navidad.”  Despite the generally high quality of the playing, there was little in the program specifically oriented to the holiday.  And, with the presence of Venezuelans Ruiz and Belzaguy and Cuban Branly, one might have hoped for something more in the way of Latin jazz excitement.

Also missing was the unannounced but rumored sitting-in presence of some of L.A.’s fine jazz singers.  Several were in the audience, but failed to take the stage.

That said, it was nonetheless an evening of the sort of world class jazz I mentioned above.  And, heard in action, regardless of their selection of material, the Sheppard/Belzaguy quartet’s playing was a potent reminder of the sort of jazz that’s available almost every night in the Southland.