By Don Heckman
Los Angeles
- Aug. 24. (Tues.) Sarah Chang. The gifted young violinist takes on the fascinating musical demands of the Shostakovich Violin Concerto No. 1, The Los Angeles Philharmonic, conducted by Leonard Slatkin, plays the Shostakovich Symphony No. 5. The Hollywood Bowl. (323) 850-2000.
- Aug. 24. (Tues.) Clayton-Hamilton Jazz Orchestra. The Southland’s always compelling contribution to the top tiers of big band jazz makes an infrequent club engagement. Vibrato Grill Jazz…etc. (310) 474-9400.
- Aug. 24. (Tues.) Otmaro Ruiz Quartet. Versatile pianist Ruiz shares his views of Latin jazz with the talented vibraphonist, Nick Mancini. Charlie O’s. (818) 994-3058.
Monica Mancini
- Aug. 25. (Wed.) Gershwin Across America. What could be more entertaining than a warm summer night at the Hollywood Bowl, listening to the timeless melodies of Gershwin sung and played by a cast of musical all-stars. Featured artists include Monica Mancini, Jason Mraz, BeBe Winans, Nancy Wilson, St. Vincent, Shelly Berg, Arturo Sandoval, Tom Scott, Gordon Goodwin’s Big Phat Band and others. The Hollywood Bowl. (323) 850-2000.
- Aug. 25. (Wed.) Dale Fielder Angel City Quartet. Saxophonist Fielder leads his quartet in an evening dedicated to a tribute to Wayne Shorter as well as selections from his own Suite Clarity. Catalina Bar & Grill. (323) 466-2210. .
- Aug. 25. (Wed.) Larry Goldings Quintet. Film music is on the menu for pianist Goldings, who leads his players – guitarist Anthony Wilson, trumpeter Josh Welchez bassist Gabe Noel and drummer Kevin Kanner in a program of music by the likes of Bernard Hermann, Henry Mancini, Nino Rota, Leonard Bernstein and more. Vitello’s. (818) 769-0905.
Norah Jones
- Aug. 25. (Wed.) Norah Jones. She burst onto the music scene with almost no advance warning. And she’s been spreading her wings musically ever since, revealing the broad, eclectic reach of her performing, playing and composing skills. The Greek Theatre. (323) 665-3125.
- Aug. 25 & 26. (Wed. & Thurs.) Jeremy Siskind. The talented young pianist offers a tribute to Oscar Peterson, backed by guitarist Graham Dechter and bassist Will Snyder. Wed. at Charlie O’s. (818) 994-3058. Thursday at Vibrato Grill Jazz…etc. (310) 474-9400.
- Aug. 26. (Thurs.) Beatlesfest. Led Zepagain. It’s tribute night on the Pier, with the sounds of the Beatles and Led Zeppelin spreading musical memories in every direction. Twilight Dance at the Santa Monica Pier. (310) 458-8900.
- Aug. 26. (Thurs.) Peter Erskine and Friends. Expect high quality, world class jazz whenever drummer Erskine is leading the way. And once again he’s got a band that knows how to deliver it. With Alan Pasqua, piano, Derek Oles, bass and Bob Mintzer, saxophones. Vitello’s. (818) 769-0905.
- Aug. 26. (Thurs.) Galway Plays Mozart. Flutist John Galway – his instrument’s most visible performer — plays the Mozart Flute Concerto No 2, as well as Debussy’s Prelude to the Afternoon of a Faun and Piston’s Incredible Flutist Suite. The Los Angeles Philharmonic, conducted by Leonard Slatkin, offers the Overture to Mozart’s The Magic Flute. The Hollywood Bowl. (323) 850-2000.
Frank Sinatra, Jr.
- Aug. 26 – 29. (Thurs. – Sun.) Frank Sinatra Jr. The Sinatra sound is alive and well in the voice and the style of son Frank, Jr. At a time when Sinatra imitators are showing up everywhere, it’s good to hear the music coming from such an original source. (323) 466-2210. Catalina Bar & Grill.
- Aug. 27. (Fri.) Cyndi Lauper. With 13 Grammy nominations, a pair of Emmys and a ton of MTV awards, Lauper continues to sustain musical stardom that reaches back to her hits of the ‘80s. Her guest stars are New Orleans’ Allen Toussaint and guitarist David Rhodes. The Greek Theatre. (323) 665-3125.
- Aug. 27. (Fri.) Dena DeRose. It took injuries to her hands to convince DeRose that she had vocal skills to match the quality of her piano playing. Fortunately recovered, she now does both. What she doesn’t do very often, however, is make Southland appearances. So don’t miss this one. Crowne Plaza Hotel. (310) 642-7500.
- Aug. 28. (Sat.) The Turtle Island Quartet. The ever-adventurous Turtle Islanders perform music from their new CD, Have You Ever Been… — featuring the music of Jimi Hendrix and founder/composer in residence David Balakrishnan. Grand Performances. (213) 687-2190.
Charmaine Clamor
- Aug. 28. (Sat.) Charmaine Clamor. The Philippines’ gift to the world of jazz singing gets better and better with every performance, spreading her extraordinary musical versatility in all directions. Hopefully she’ll offer a glimpse into the songs on her soon to be released new album, Something Good. And this time out, it won’t cost a penny to hear and see this world class artist at the Levitt Pavilion in a free concert in MacArthur Park. (213) 384-5701
- Aug. 28. (Sat.) Jeri Brown. Brown, whose voice is one of the jazz world’s most remarkable instruments, takes a break from her teaching activities in Canada to make a very rare Southland appearance. If you haven’t heard her yet, you should start now. Café Metropol. (213) 613-1537.
- Aug. 28. (Sat.) Ashley Maher. Imagine the lyrical depths of Joni Mitchell embraced by the vital rhythms of Africa, and it still won’t quite describe the songs and singing of Maher, who deserves far more attention than she has received. She performs with Haiti’s Jean-Paul. The Kara Mack Band opens. The Talking Stick, Venice.
- Aug. 28 & 29. (Sat. & Sun.) Idyllwild Jazz in the Pines. A great way to spend a late Summer weekend – an entertaining program of music in a delightful outdoor setting. Featured artists include Tom Scott, Kenny Washington, Oscar Hernandez and David Benoit. But there’s much more, from the Peter Sprague String Consort and the Jeff Tower Big band to Henry Franklin, Yves Evans, Graham Dechter and many others. The inimitable Bubba Jackson is the master of ceremonies. Idyllwild Jazz in the Pines.
= Aug. 29. (Sun.) Kleber Jorge. Brazilian singer/guitarist Jorge, former lead guitarist with Sergio Mendes, has also performed with everyone from Dori Caymmi to John Patitucci. He celebrates the opening of a new Sunday brunch series at the Tiato Market Garden Cafe in Santa Monica. (310) 866-5228.
San Francisco
- Aug. 24 & 25. (Tues. & Wed.) Lenny White and Anomaly. Drummer White celebrates the release of Anomaly, his first album in ten years, Determined to “put the rock back into jazz-rock,” he thoroughly succeeds in the task. For a review of his performance at Catalina Bar & Grill last weekend, click here. Yoshi’s Oakland. (510) 238-9200.
Bob Dylan
- Aug. 25. (Wed.) Bob Dylan and His Band. A rare and special event. And it begins with what will surely be a virtual “happening” outside the theatre before the show begins. Why? Because all tickets are general admission and will be sold only on the day of the show. $60, cash only, no credit cards, and no advance tickets will be sold. Box office and doors open at 5:30 p.m. for the 8 p.m. show. Line-ups will be allowed no earlier than noon on the day of the show. The Warfield, San Francisco.
Aug. 26 – 28. (Thurs. – Sat.) John Zorn. A three night Zorn festival. On Thursday he performs in a duo with composer Terry Riley; on Friday he plays Alhambra love songs at 8, and is joined by the Aleph Trio at 10; on Saturday he appears with the Rova Saxophone Quartet. Yoshi’s San Francisco. (415) 655-5600.
New York
- Aug. 24 – 28. (Tues. – Sat.) Richie Bierach. Pianist Bierach, a favorite of Stan Getz and Chet Baker, among others, performs with trumpeter Randy Brecker, violinist Gregor Huebner, bassist George Mraz and drummer Billy Hart. Birdland. (212) 581-3080.
-Aug. 24 – 29. (Tues. – Sun.) Saxophone Summit: Salute to James Moody. Special guests: Tues. — Chris Potter; Wed. – Eric Alexander and Antonio Hart; Thurs – Jimmy Heath; Fri. – Lew Tabackin; Sat. – Ada Rovatti; Sun. – Joe Lovano. The Blue Note. (212) 475-8592
- Aug. 24 – 29. (Tues. – Sun.) The Music of Antonio Carlos Jobim. An evening of works by the man who created some of the most memorable songs of the late 20th century. Performed expertly by The Trio Da Paz, with Joe Locke, Harry Allen and Maucha Adnet. Dizzy’s Club Coca-Cola. (212) 258-9595.
Lee Konitz
- Aug. 26 – 29. (Thurs. – Sun.) Lee Konitz. The veteran alto saxophonist, one of the jazz world’s true original artists, displays his extraordinary improvisational skills in the company of the alternating rhythm section teams of Ethan Iverson/Larry Grenadier (Thurs. & Sun.) and Reid Anderson/Jorge Rossy (Fri. & Sat.) Iridium. (212) 582-2121.
- Aug. 26 – 29. (Thurs. – Sun.) Gerald Clayton Quintet. Rapidly rising young pianist Clayton expands his trio with a pair of equally promising young instrumentalists – trumpeter Ambrose Akinmusire and alto saxophonist Logan Richardson. The Jazz Standard. l (212) 576-3323.
The presentation was titled “Hallelujah! A Celebration of Rebirth and Renewal,” an appropriate label for an Easter Sunday event, further underscored by Charmaine’s parallel work as a physical therapist. The mesmerizing quality of her Catalina performance, however, suggested that her evolutionary growth as a singer is probably not going to allow much time for anything other than the expansion of her career as a musical artist.
Charmaine was equally convincing with the old standard, “’Til There Was You,” the Italian classic “Estate,” “I Believe In Love” (based on Joshua Redman’s “Wish” with lyrics by Eli Brueggemann), a jaunty romp through “Pick Yourself Up” and a dramatically climactic “Here’s To Life.” Add to that some of her original items and one couldn’t have asked for a broader, more engaging set of songs.
Posted by irom 
Konik’s Commentary: “(K)Jazz is Dead”
July 26, 2011By Michael Konik
Since the 1970s, for as long as I’ve been aware of the music commonly known as “jazz,” various authorities, mavens, and aficionados have been declaring it dead or soon-to-be-deceased. “Jazz is dead.” “Jazz is dying.” “Jazz is going extinct.”
If this is so, the suffering patient has been enduring a kind of decades-long hospice care that would bankrupt Medicaid. While it’s true that jazz record sales comprise a comically small percentage of the (withering) recording industry and an even smaller slice of the radio market, and live music venues calling themselves jazz clubs close more frequently than sales of foreclosed homes, the music itself is gloriously alive.
Michael Konik
Thanks to college jazz programs, the advent of cheap recording technology, and an irrepressible need for members of a free society to express themselves individually and collectively, there are more artists than ever creating modern American music rooted in improvisation. Some of it swings, some of it doesn’t. Some of it employs traditional jazz instrumentation, some does not. (Almost all of it, even the stuff that sounds resolutely “out,” remains firmly rooted in the Blues, the ancestral wellspring of nearly all popular American music.) Most folks who care about profound sounds are uninterested in the banal question “is it jazz?” since the form itself is (and always has been) evolving and shifting shapes. We who admire and revere artists as disparate as Bobby McFerrin, Brian Blade, and Maria Schneider aren’t much concerned with the marketing umbrella these un-categorizable creators fall under. We just know they’re alive and happening and necessary listening. They’re now.
KKJZ 88.1FM in Los Angeles (Long Beach, actually), is one of the few full-time jazz stations remaining in the United States. (New York, Denver, and San Francisco, among a handful of others, are home to thriving and exciting jazz stations, which anyone anywhere can access online.) K-Jazz, as it’s commonly known, is a “member-supported” radio station, which means that in addition to the “corporate underwriting” — read: advertising — they solicit, the station relies on the charitable contributions of its listeners, or “members,” to flourish. One of the oft-repeated and apparently compelling sales pitches the station employs is, “Help us keep jazz alive!” The implication is the same as it’s always been: jazz is a dying art form with a small but devoted cult of supporters, and without K-Jazz nobly spinning the nobly unpopular recordings over the airwaves the noble music will indeed finally suffer the ignoble demise everyone’s been forecasting forever.
If you listen to K-Jazz regularly, or if you examine their archived playlists from the past 6-months or so, since a new Music Director named Lawrence Tanter, public-address announcer of the Lakers, took over, you could easily get the mistaken impression that jazz really is dead, that it is largely the provenance of dead people or those, like Dave Brubeck, in the twilight of their life. Living artists do get played, but they’re a minority. It wasn’t always like this. The KKJZ DJs, who previously were allowed the latitude to program their own shows according to their individual personalities and tastes, drawing on the vast (and sometimes intimidating) trove of new music being produced, are now limited to a narrow palette of aural colors dominated by cats and kittens whose work, while historically significant and possibly immortal, is the stuff of Smithsonian archives and Ken Burns documentaries. Count Basie, Billie Holiday, and Art Blakey are wonderful artists. But they’re early chapters in an ongoing narrative, not the climactic finish to the story. Listen to K-Jazz enough and you could get the impression that jazz isn’t a thriving, vital, contemporary art form but something that belongs in a museum. Or a hospital.
Outside of New York City, Los Angeles is home to more brilliant jazz musicians than any place on the planet. These folks don’t just gig in local venues and contribute their talent to movie and TV soundtracks. They make recordings that are played in every region of the United States. Some of them have international reputations and touring careers. Some of them have the powerful marketing imprimatur of Grammy nominations attached to their names. Many of them are younger than 50. But if K-Jazz were your primary source, you wouldn’t know they exist. I recently searched for the names of a dozen Los Angeles-based female vocalists, all of them quite alive, including a couple of the Grammy girls and two singers who currently have albums on the national JazzWeek radio chart. Total number of spins on KKJZ for the past two weeks? Zero.
Speaking of the Grammys, last year’s Best New Artist wasn’t Justin Bieber or a rapper. It was a 20-something jazz musician – bass and vocals – named Esperanza Spalding. She gets played on KKJZ as often as our local stars: almost never.
When the most progressive and current sounds emanating from KKJZ come from the overnight syndicated host Bob Parlocha, who’s steadfastly committed to what he calls “mainstream jazz,” you know that it’s not jazz that’s dead or dying. It’s the station that curates it. I don’t know anyone under the age of 45 who listens to KKJZ regularly. They don’t need to hear “Take Five” or “All Blues” every day. These “younger” people have been given tacit permission from “America’s Jazz and Blues Station,” as KKJZ likes to bill itself, to dismiss jazz as music intended for old folks, performed by old folks, best enjoyed as an antique cultural curiosity.
It’s not. Jazz is the sound of present-day America and, increasingly, the world. Jazz is searching and subversive, bold and beautiful, questioning and quiet, loud and proud. No, jazz is not popular music. In a 140-characters-or-less society, jazz music, like anything else that requires mindfulness and careful attention, appeals to a shrinking demographic of thoughtful and engaged citizens. But dead it’s not. Gatekeepers of the art form would do well for both themselves and the culture-at-large to stop living in the past and start celebrating jazz’s present-day vitality. The labels and genres and marketing tactics will inevitably change; the musical continuum – the entire thing, from Pops to the present — endures.
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Best-selling author Michael Konik is the proprietor of the independent jazz & blues label FreeHam Records. He’s produced several notable CDs, including albums by Linda “the Kid” Hopkins, Mr. Z, and the fast-rising jazz vocal artist, Charmaine Clamor. His latest book is “Reefer Gladness: Stories, Essays and Riffs on Marijuana.”
To find out more about Michael Konik, click HERE. For more information about Freeham Records, click HERE.