Live Music: Deana Martin at Vitello’s

By Don Heckman

Studio City, CA.  Second, even third, generation careers in show business aren’t exactly uncommon in the entertainment world.  And singer Deana Martin’s name alone indicates a legacy powerful enough to open the right doors.

But Martin, who began a three night run at Vitello’s on Friday night, has the skills to build a career on, regardless of her lineage.

That said, however, she titled this presentation – which she’s been doing in locations across the country –  “Deana Sings Dino” honoring her father, “The King of Cool”  And she was introduced from the stage, by her father’s video announcement.

Deana Martin

She further underscored the connection by performing such songs identified with Dean Martin as  “Memories Are Made of This,” “That’s Amore,” ”You’re Nobody Til Somebody Loves You,” “Ain’t That A Kick in the Head,” “Everybody Loves Somebody” and “Volare.”  And she topped off the paternal references with a video duet on “True Love” that included a fascinating montage and photos of Martin family life.

Inevitably, one couldn’t help but listen to Deana’s interpretations with distant, but recurring, memories of how they were sung by her father.  Memories that were further revived by the arrangements played by her world class group – led by pianist and music director John Proulx, and featuring bassist Chuck Berghofer and guitarist John Chiodini.  Often emphasizing a gently swinging groove, the charts were reminiscent of those used by Dean Martin, Frank Sinatra and the other partners in the Rat Pack.

John Proulx and Deana Martin

Add to that Deana’s amiable and laid back manner in her between songs commentaries.  Quick jokes came one after the other, interspersed with personal recollections of Dean Martin and such Rat Pack “uncles” as Sinatra and Sammy Davis, Jr.

Observing her father and the “uncles” in action as she grew up in a show biz environment, Deana has clearly mastered all the entertainment elements that work for her as a performing artist.  To her credit – and unlike some of the singers in her generation – her performance overflowed with the confident, communicative manner of an utterly engaging entertainer.

Beyond all the legacy elements emphasized by the “Deana Sings Dino” aspects of the performance, there was the appealing musicality and interpretive lyricism present in everything she sang – nostalgic or otherwise.  In songs such as “Beyond the Sea,” “The Lady Is A Tramp” and “I’d Love To Get You On A Slow Boat To China,” she displayed the very special qualities that are uniquely her own.

And one suspects that Dean Martin, had he been present at Vitello’s, would have been proud of the fine, convincingly imaginative artist that his daughter has become.

Deana Martin and “Deana Sings Dino” continues at Vitello’s tonight.

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Photos by Bob Barry. 

Live Jazz: Cat Conner’s “Birthday Bash” at Vitello’s

By Don Heckman

Jazz singer Cat Conner gave a birthday party to remember at Vitello’s Thursday night.  Actually, a “Birthday Bash,” as she described it, in which she and her close friend, Lee Hartley, sang their way through a delightful evening of song.

Christian Jacob. Cat Conner, Chuck Berghofer

Cat Conner

Backed by the stellar trio of pianist Christian Jacob, bassist Chuck Berghofer and drummer Ray Brinker, with creative contributions from saxophonist/clarinetist Gene “Cip” Ciprano, Conner and Hartley were clearly enjoying each of the numbers they sang in a nearly two hour program.

After the trio’s opening romp through “Stella By Starlight,” Conner dug into a jaunty “What A Little Moonlight Can Do,” following it with “You Stepped Out Of A Dream” and Dave Frishberg’s whimsical blues, “I Can’t Take You Nowhere” (which she dedicated to her mother.)  Here, as elsewhere, Conner displayed her warm, intimate way with a song.

Cat Conner and Lee Hartley

Hartley, an impressive jazz artist in her own right, added her gently swinging “I Love Being Here With You” and an original song inspired by Nat “King” Cole.

There was much more to come, including “My Wish For You,” an intriguing version of a lovely Luis Bonfa melody from the film, Black Orpheus, with lyrics by Peggy Lee.  And a romp through “Mr. P.C.” featuring Berghofer’s articulate soloing.  Along with the occasional pairing of Conner and Hartley on tunes such as “I Mean You” and a lyrically revised “Girl Talk.”

Cat Conner, Gene “Cip” Cipriano and Lee Hartley

Cipriano, playing clarinet (and calling up images of Artie Shaw), joined Conner and the rhythm section to duet on “Moonglow” and “Squeeze Me.”  Conner was also especially on target, continuing to focus on her musical storytelling via warm interpretations of “How Deep is The Ocean?” and “Embraceable You.”  She wound up the celebration with a high spirited romp through Sonny Rollins’ “St. Thomsas.”

The birthday party climaxed with, appropriately, some birthday cake, and a lot of celebratory hugs between Conner and her listeners, most of whom seemed to be close friends and musical acquaintances.

Which wasn’t exactly what one expects from a mid-week gig.  But on this enjoyable evening, Conner, Hartley and their back-up trio found all the pleasant linkages between the music and the birthday celebration.  And, as oten happens at Vitello’s, the performance had the relaxed feeling of a living room jam session among close friends.

No wonder Cat was smiling for most of this night to remember.

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Photos by Faith Frenz.

Live Jazz: The Johnny Mandel Big Band

By Don Heckman

Johnny Mandel was at Vitello’s again Saturday night, leading a big band at the venue for the third time in a year.  Despite the familiarity of the music – or, perhaps, because of it — one couldn’t ask for better evidence of the long term quality of his achievements, as a composer, an arranger and a songwriter.

As in the previous appearances, the program was largely divided into two sets, with the first including most of the best-known Mandel classics, the second exploring some of his less familiar works.  In both sets, the music was utterly compelling, performed in dynamic fashion by an enthusiastic assemblage of Los Angeles’ finest players.

Johnny Mandel

At 87, leading the musicians from behind a music stand positioned in front of the saxophone section, Mandel touched upon the many high points of his extraordinary career.  They came in engaging fashion, one memorable melody after another: “The Shadow of Your Smile,” played lyrically by trumpeter Carl Saunders; the theme music from “I Want To Live,” featuring the baritone saxophone of Bob Efford; the lovely film song, “Emily”; “Suicide is Painless” (the theme song from “M*A*S*H”).

Add to that Mandel’s fiery flag waver, “Not Really the Blues,” originally written for the Woody Herman Band, a quirky chart for the Artie Shaw Band inspired by the Crazy Cat cartoon show, and an equally hard swinging arrangement of “Centerpiece.”  And let’s not forget Mandel’s gift for writing classic song melodies: including a gorgeous arrangement of his “Close Enough For Love, written with Paul Williams, performed here with saxophonist Steve Wilkerson in the solo role; and an equally lyrical “Where Do You Start,” composed with the lyrics of Alan and Marilyn Bergman.

Looking back over my previous reviews of the Mandel big band appearances at Vitello’s, I can see the potential for redundancy in my comments.  But there was no redundancy in the music.  Mandel’s originals, along with his arrangements, sound fresh and new each time they’re played.  And the pleasures of hearing them were aided by a stellar array of world class musicians.

Johnny Mandel leads his band

I won’t make a simple list of them.  But, in addition to those I’ve already mentioned, I can’t overlook the fine solo and section efforts of trumpeters Ron Stout, Bob Summers and Adolfo Acosta, trombonists Ira Nepus, Scott Whitfield, Phil Teele and Ryan Porter, and the extraordinarily versatile offerings of saxophonists/flutists/clarinetists Carol Chaikin, Keith Fiddmont and Ricky Woodard.  And, of course, the propulsive foundation provided by pianist John Campbell, guitarist John Chiodini, bassist Chuck Berghofer and drummer Zach Albetta (playing the Mandel book for the first time).

So, as it turned out, three performances in a year were not too many. Not for Mandel’s music, which is always a delight to experience in bold, living colors.  Here’s looking forward to his next Vitello’s appearance with his Big Band – hopefully as a celebration of Johnny Mandel’s 88^th birthday in November, along with the publication of his biography, which is reportedly in the works.

Photos by Faith Frenz.

Live Music: Deana Martin at Catalina Bar & Grill

By Don Heckman

Hollywood, CA.  As if her name wasn’t enough to identify her, Deana Martin was introduced in her Christmas show at Catalina Bar & Grill Friday night by a big screen video projection of her father.  That’s right, the late Dean Martin.

2^nd and 3^rd generation celebrity performers are nothing new in Los Angeles (and New York, for that matter).  Some have built successful careers on their own, despite (or because of?) their well-known names.  Frank Sinatra, Jr. and Natalie Cole come to mind among numerous others.

Deana Martin

But the enhanced visibility generated by names and lineage isn’t enough to create a career as a performer. It takes talent, as well.

A quality that Deana Martin has in abundance.

Performing with a sterling quartet – pianist/singer John Proulx, bassist Chuck Berghofer, guitarist John Chiodini and drummer M.B. Gordy – she was a non-stop dynamo of musical energy.

Blessed with a warm, intimate vocal quality, a gifted lyrical story-teller, Martin convincingly found her way into the musical heart of everything she sang.  Although one could detect – in an occasional tune – the timbres or the phrasing of her father, she clearly had her own interpretations of everything she sang.

Since it was her Christmas show, the seasonal items blossomed in abundance: “Silver Bells,” “What Are You Doing New Year’s Eve?,” “Let It Snow,” “It’s Christmas Once Again.”  And one of the high points of the show, reserved for the final segment, was an audio/video presentation of Martin singing “White Christmas” with the late Andy Williams..

Between songs, she was an engaging raconteur, telling tales about growing up in Beverly Hills, about greeting – and participating in — celebrity carol singing groups going from door to door at Christmas time.

Martin also sang numbers associated with her father or his friends.  Among them: “Come On-A My House” (Rosemary Clooney); “I Won’t Dance” (Frank Sinatra and/or Fred Astaire).  As well as – from her father’s songbook — “Volare,” “That’s Amore” and “Memories Are Made of This” (done with a Dean Martin video).

Further widening her presentation, she teamed up, humorously, with a few performers who had worked with her father, and sang a warm duet with pianist Proulx.  Her final song, appropriately, was her father’s signature “Everybody Loves Somebody.”

Well-planned, well-crafted and well-delivered, the show was the work of a performer whose talents reach well beyond her celebrity roots.  Entertaining as it was, however, one couldn’t help but wish to hear Martin some time in a setting that has nothing to do with her lineage, singing songs unrelated to her father or the Rat Pack, thoroughly revealing the unique talents that are her own.

Photo by Faith Frenz.

Picks of the Week: Nov. 21 – 25

By Don Heckman

Los Angeles

- Nov. 23. (Fri.)  Chuck Manning-John Daversa Quartet.  Saxophonist Manning and trumpeter Daversa get together for an evening of adventurous improvisation.  They’re backed by Pat Senatore, bass and Dick Weller, drums.  Vibrato Grill Jazz…etc.  (310) 474-9400.

- Nov. 23. (Fri.)  Deana Martin.  Yes, she’s Dean Martin’s daughter.  But Deana has transformed her musical inheritance into an appealing style of her own.  Catalina Bar & Grill.   (323) 466-2210.

Ahmad Jamal

- Nov. 24. (Sat.) Ahmad Jamal.  The great jazz pianist, admired by Miles Davis, as well as  his legions of fans, makes a rare Southland appearance.  Renee and Henry Segerstrom Concert Hall.    (714) 556-2787.

- Nov. 25. (Sun.)  Harry Allen and Larry Goldings.  Tenor saxophonist Allen combines a mainstream style with a contemporary imagination.  Keyboardist Goldings provides ideal backing, along with Chuck Berghofer, bass and Roy McCurdy, drums.  Vitello’s.   (818) 769-0905.

- Nov. 25. (Sun.)  “A Tribute To Dinah Washington: Queen of the Blues.  Barbara Morrison with the BMPAC All Stars Band conducted by John Stephens. Who better than the versatile blues mistress Barbara Morrison to honor the Dinah Washington musical memory. Catalina Bar & Grill.   (323) 466-2210.

Chicago

Roberta Gambarini

- Nov. 21 – 25. (Wed. – Sun.)  Roberta Gambarini. Italian native Gambarini has thoroughly established herself as one of the world’s finest jazz singers, regardless of origin. Hear her whenever you can.  Jazz Showcase.  http://www.jazzshowcase.com  (312) 360-0234.

New York

- Nov. 21 – 24. (Wed. – Sat.) Cyrille Aimee. With a French gypsy background and Dominican roots, Aimee – a runner up in the Thelonious Monk vocal competition – enhances her jazz skills with world music seasoning.  Birdland.     (212) 581-3080.

- Nov. 21 – 25.  (Wed. – Sun.)  Jason Moran and the Bandwagon. Currently one of the most critically praised jazz pianist/composers, Moran performs in a classic trio setting with  Taurus Mateen, bass, and Nasheet Waits, drums.  Village Vanguard.   (212) 255-4037.

Maria Schneider

- Nov. 20 – 25. (Tues. – Sun.)  The Maria Schneider Orchestra.  Schneider’s far-reaching musical imagination has brought compelling new timbres and adventurous performances to the classic big band setting. Jazz Standard.    (212) 889-2005.

Copenhagen

- Nov. 22 – 24. (Thurs. – Sat.)  Sinne Eeg.  One of Denmark’s – and Europe’s – most admired jazz singers, Eeg celebrates the release of her new album, The Beauty of Sadness, recorded with a Danish national orchestra and her own quartet.   Jazzhus Montmartre.  (+45) 70 15 65 65.

Paris

Ravi Coltrane

- Nov. 23. (Fri.) The New Ravi Coltrane Quartet.  John Coltrane’s gifted, saxophone playing son Ravi is keeping the creative legacy of his father alive and well.  Paris New Morning.   01 45 23 51 41.

Milan

- Nov. 21 – 24. (Wed. – Sat.)  Al Di Meola. Master guitarist Di Meola has an impressive  resume, reaching from his electric jazz fusion with Return to Forever to his superb solo acoustic outings.   Blue Note Milano.   02.69016888.

Tokyo

Nov. 22 – 25. (Thurs. – Sun.) and Nov. 27 & 28. (Tues. & Wed.)  Natalie Cole.  Nat ‘King” Cole’s daughter is a major star in her own right, singing with the authentic jazz inflections characteristic of her father’s finest work.  Blue Note Tokyo.   03.5485.0088.

Live Jazz: John Proulx at Catalina Bar & Grill

By Don Heckman

It’s no news that female singers have been arriving on the jazz scene in the past few decades with far greater frequency than males.  Which makes it worth noticing when a male jazz singer with credentials as an instrumentalist makes an appearance.

John Proulx isn’t exactly a new jazz artist, either as a pianist or a singer.  In the decade or so since he arrived in Los Angeles, he has rapidly established himself as a first-call pianist with wide-ranging skills.  More recently, he’s won a Grammy award for a song he composed for Nancy Wilson.  And he’s begun to showcase his singing in his albums.

On Wednesday night at Catalina Bar & Grill he introduced selections from his latest album, The Best Thing For You Would Be Me. In fact, he sang and played virtually all of the album’s selections.  Backed by most of the participants on the album – saxophonist Bob Sheppard, trumpeter Ron Stout, drummer Joe La Barbera, bassist Chuck Berghofer and singer Sara Gazarek, with the added aid of guitarist John Chiodini (who was not on the album) – Proulx made an ambitious presentation of his diverse skills as pianist, singer and songwriter.

The John Proulx Band

Proulx opened the program with a sequence of tunes from a variety of sources: a pair of standards (his album title — “The Best Thing For You Would Be Me” and the Jimmy McHugh classic “I Can’t Give You Anything But Love”); Cannonball Adderley’s “Wabash;” Billy Joel’s “And So It Goes;” and Joe Raposo’s Sesame Stree song, “Sing”).

That’s a challenging group of songs, dissimilar enough to call for vocal skills that are lyrically interpretive, rhythmically driven and aurally appealing.

John Proulx

At times, Proulx’s readings touched on all those qualities.  And on the up side, there was always a strong, propulsive swing in his vocals, ranging from a brisk articulation of melody to inventive scat singing.

The second half of the program, broadened to feature six Proulx originals, followed similar patterns.  Here, the interpretations were aided by the beautifully articulate vocal contributions of Gazarek, whose presence on Sarah McLachlin’s “Angel” and  Proulx’s “Love Is For Dreamers” and “Before We Say Goodnight” brought authenticity to each.

The final selections, climaxing with originals, were also enhanced by instrumental contributions from Sheppard, Stout, La Barbera and Chiodini.  One of the most appealing, “Here’s To the Chuckster,” featured Berghofer and Proulx together, in a song dedicated by Proulx to the veteran bassist.

Ultimately, one was left with a view of a musician/singer still working to find the most effective focus for his considerable skills. For that to be achieved, Proulx might consider the application of those skills in more musically expressive directions.  To emphasizing the telling of a musical story, remembering that a song is a musical tale.  To reducing his use of long, sometimes edgy notes (Checking out the master of musical phrasing, Frank Sinatra, might not be a bad idea).  To finding a better balance in his music between sounds and silences, recalling Miles Davis’ classic phrase, “The notes I don’t play are as important as the notes I do.”  It’s a thought that Chet Baker – whom Proulx clearly admires – understood well.

But the potential is already amply visible in Proulx’s work. When he gets all the right pieces together, that potential will reach skyward.

Photos by Bob Barry. 

Live Jazz: Roberta Gambarini at Catalina Bar & Grill

By Don Heckman

Anyone with a more than passing interest in world class jazz singing should make a reservation for tonight or tomorrow night at Catalina Bar & Grill.

Why? To hear Roberta Gambarini offer a set that is an entertaining display of jazz singing at its finest.  Add to that the virtual seminar in the techniques of jazz vocalizing that her performances offer.

Roberta Gambarini

Gambarini may have been born in Italy, but she grew up surrounded by jazz recordings.  Gifted with a magnificent sounding voice, a 3 to 4 octave range and perfect pitch, her natural skills could easily have led her into an operatic career.  But, to the benefit of jazz fans, she chose the improvisational art, and mastered it, on all counts – from inventive scatting, expressive storytelling and the phrasing of a jazz instrumentalist to an irresistible sense of swing.

And all of it was on stunning display at Catalina’s last night – Friday – the opening of a three night run.

Backed by pianist Mike Wofford, bassist Chuck Berghofer and drummer Harvey Mason, Gambarini sang a program of surprisingly diverse songs, at a variety of tempos, in English, Italian, French and Spanish.

Looking gorgeous in a shimmering white beaded dress, she started her program with an immediate announcement of the scope of her abilities by singing a completely solo, a cappella version of the hit song from the musical Oliver, “Where Is Love?”  Then, spreading her creative net wide, she signaled Mason to kick off a drum intro, and dug into a high speed romp through Jerome Kern’s “Nobody Else But Me.”

A deeply grooving rendering of “No More Blues,” the English language version of Antonio Carlos Jobim’s “Chega De Saudade,” came next.  Followed by her vocally brilliant version of a recording of Jimmy McHugh’s “Sunny Side of the Street,” including Gambarini’s vocalese versions of solos by Sonny Stitt, Dizzy Gillespie and Sonny Rollins.

And that was just the beginning. The balance of the evening was a sumptuous banquet of music.  To mention just a few: a lovely version of a song by Astor Piazzolla, sung in French; a tender interpretation of Benny Carter’s “When Lights Are Low”; her intriguing take on Leon Russell’s “This Masquerade”; a thoroughly authentic Italian reading of “Estate.”

Add to that one of the program’s high points – a dramatically rendered pair of songs from the Gershwins’ Porgy and Bess: “Porgy You Are My Man” and “I Loves You Porgy.”  Listening to the way she brought the Gershwin tunes to life, I couldn’t help but hope to hear Gambarini invest her inner jazz sensibilities into more musical theatre pieces in the future.

The backing provided by Wofford, Berghofer and Mason was first rate.  And without a rehearsal.  It’s true, no rehearsal.  World class veterans all, they made the most of Gambarini’s charts and her occasional gestures of guidance.  They watched her approvingly in her ballad work, and responded with occasional glances of astonishment when she took off on one of her high flying vocal excursions.

As I said earlier, “jazz singing at its finest.”  And that’s rare.  Very simply, Roberta Gambarini – true jazz artist that she is, should be heard at every opportunity – by fans and students, as well as her colleagues in the jazz vocal art.

Photo by Faith Frenz.

Roberta Gambarini appears tonight, Sept. 7 and tomorrow night, Sept. 8, at Catalina Bar & Grill.  (323) 466-2210.

Picks of a Holiday Week: July 4 – 8

By Don Heckman

Los Angeles

Barry Manilow

- July 4.  (Wed.)  Barry Manilow and July 4 Fireworks Spectacular.  A high energy celebration of the 4^th.  With one soaring Manilow hit after another, a lot of patriotic music from the Hollywood Bowl Orchestra, conducted by Sarah Hicks.  And the usual spectacular pyrotechnics.  Hollywood Bowl.   (323) 850-2040.

- July 6 & 7 (Fri. & Sat.)  Rodger Fox’s Wellington Jazz Orchestra.   A big jazz band from New Zealand?  They’re in town to make a recording, while giving Angeleno jazz fans a taste of jazz from the other side of the world.  Should be interesting. Vitello’s.    (818) 769-0905.

Deana Martin

- July 6 & 7 (Fri. & Sat.)  Deana Martin.  Yes, she’s Dean Martin’s daughter, and the musical inheritance is obvious.  But it’s the way Deana  transforms that inheritance into her own expressiveness that makes her such an intriguing singer.  She’s backed by the stellar trio of Mike Lang, Chuck Berghofer, Jim Fox and Steve Schaeffer.  Catalina Bar & Grill.   (323) 466-2210.

- July 7. (Sat.)  Pete Christlieb Quartet.  Saxophonist Christlieb is at the top of everyone’s first call list – for big band jazz, small group, whatever.  And with good reason.  Here’s a chance to hear him in the spotlight, backed by Tom Ranier, piano, Pat Senatore, bass and Kendall Kay, drums.  Vibrato Grill Jazz…etc.     (310) 474-9400.

- July 8. (Sun.)  Hiroe Sekine.  Pianist/composer/singer Sekine celebrates the release of her new CD, After the Fall.  With Larry Koonse, guitar, Bob Sheppard, saxophones, Edwin Livingston, bass, Aaron Serfaty, drums.  Vitello’s.    (818) 769-0905.

San Francisco

- July 6 – 8. Fri. – Sun.)  Roy Ayers.  Vibraphonist Ayers moved quickly beyond his bebop roots into early jazz funk and, more recently, into funk, house music and other pop/jazz crossovers.  Yoshi’s Oakland.   (510) 238-9200.

New York

Carmen Lundy

- July 5 – 8. (Thurs. – Sun.)  Carmen Lundy.   Lundy is not only a gifted jazz singer, she’s also a talented songwriter, approaching both skills with a rich palette of musical creativity. The Blue Note.   (212) 475-89592.

- July 6. (Fri.)  Mark Helias: The Parlance of Our Times.  Bassist Helias leads alto saxophonist Tim Berne, trumpeter Kirk Knuffke and drummer Mark Ferber in an exploration of “the lexicon of composition and improvisation practices presented over the last few decades.”   Cornelia St. Cafe.    (212) 989-9319.

London

- July 6 & 7. (Fri. & Sat.)  Jimmy Cobb, Joey DeFrancesco and Larry Coryell Trio.  A tribute to Jimmy Smith by a great trio of all-stars.  It would be hard to imagine three guys who could do it better.  Ronnie Scott’s.   020 7439 0747.

Paris

John Scofield

- July 6. (Fri.)  John Scofield’s Hollowbody.  In his Hollowbody bands, guitarist Scofield sparks the creativity by juxtaposing his unique skills against other guitarists.  This time out, he’s working with guitarist Kurt Rosenwinkel, as well as bassist Ben Street and drummer Bill Stewart.  New Morning Paris.   01 45 23 51 41.

 

Live Jazz: The Johnny Mandel Big Band at Vitello’s

By Don Heckman

Vitello’s was packed to the gills Saturday night.  And with good reason.  Johnny Mandel was making one of his rare appearances, leading an assemblage of Southland jazz all-stars in an evening surveying his long, productive career as a composer, arranger and songwriter.

At 86, recovering from hip problems and walking with a cane, Mandel nonetheless was a dynamic bandleader, conducting from a cramped position directly in front of the saxophones, standing between two tables full of guests.   His whimsical sense of humor was switched on, and he introduced many of the pieces with a wry, occasionally sardonic, recollection.

Johnny Mandel

The familiar Mandel items were on full display: “Emily,” “The Shadow of Your Smile,” “Suicide Is Painless” (the theme from M*A*S*H), several selections from his score for the film, I Want To Live. Most featured the band’s many stellar soloists – tenor saxophonists Pete Christlieb and Steve Wilkerson, baritone saxophonist Bob Efford, trombonists Scott Whitfield and Alan Kaplan, trumpeters Bob Summers, Ron King and Carl Saunders, pianist John Campbell, among others..

And there was more, reaching across decades of composing and arranging for films, television, recording and big bands: a hard swinging piece he wrote for the Woody Herman band in the ’40s – “Not Really The Blues”; a bossa nova done for Sergio Mendes: “Cinnamon and Cloves”; a muscular arrangement of drummer Tiny Kahn’s “T.N.T.”; a tune inspired by the Krazy Kat cartoon, written for the Artie Shaw Band.  All of it, individually and in sum, providing a fascinating gallery of musical portraits from an extraordinarily creative career.

Sue Raney

Interestingly, the band didn’t pick up their instruments for one of the evening’s most mesmerizing moments.   With no advance notice, Mandel introduced singer Sue Rany to sing “Where Do You Start?” backed only by Campbell’s quietly intimate piano accompaniment. The song, with music by Mandel and lyrics by Marilyn and Alan Bergman, is a stunning example of lyrical musical/poetic songwriting at it finest.  And so, too, was Raney’s exquisite, story-telling interpretation, capturing the essence of the song’s poignant tale.

Other contributions added to the non-stop pleasures of this memorable musical evening.  Start with Carol Chaikin’s fine lead alto playing, driving Mandel’s richly harmonized saxophone section passages with ease.  Add to that the energetic drive of the rhythm section – with the firm flow of bassist Chuck Berghofer, the energetic drive of drummer Ray Brinker, the Freddie Green-like strumming of guitarist John Chiodini and the all-purpose comps and fills of Campbell.

And don’t forget the collective participation of every member of the Band (including those whose names I haven’t mentioned).  Most are among L.A.’s A-list studio players.  Given an opportunity to play an evening-full of superb music, they not only provided their unerring craftsmanship, they made every note come alive.

No wonder Johnny Mandel was smiling so much.

* * * * *

Johnny Mandel photo by Tony Gieske.

Sue Raney photo by Bob Barry.

Live Music: A Jimmy McHugh Celebration at Vitello’s

By Don Heckman

The subtitle for this splendid program of song at Vitello’s Wednesday night was “A Salute to Black History Month.”  And both the title and the subtitle were right on target.  The performance was dedicated to selections from the extraordinary song catalog of Jimmy McHugh – who is surely one of the least acknowledged major composers in the Great American Songbook.  And the Black History salute was directly linked via McHugh’s songwriting for Harlem’s 1920’s Cotton Club revues and the all-black Broadway musical, Blackbirds of 1928 (which included one of McHugh’s classics, “I Can’t Give You Anything But Love”).

John Proulx

Although the real star of the evening was, of course, McHugh, the singing – by pianist/vocalist John Proulx, Sherry Williams and Deana Martin (backed by the sturdy support of bassist Chuck Berghofer and drummer Joe LaBarbera) – brought entertaining illumination to the songs.  And it was full testimony to the timeless appeal of McHugh’s works that they provided unique inspiration to the individual styles of each singer.

Proulx, who put the program together, has been emerging as one of the present jazz scene’s rare – too rare – male singer/instrumentalists.  Like John Pizzarelli, his performances are enriched by authentic credibility in both those areas.  “I Can’t Give You Anything But Love” and “I Just Found Out About Love” were delivered with a solid rhythmic groove.  On “Can’t Get Out of This Mood,” Proulx scatted in unison with his piano lines, calling up similarities to Pizzarelli’s jazz and guitar improvisations. “Too Young To Go Steady” had just the right amount of teen-aged angst.  And “Let’s Get Lost” suggested cool, laid-back Chet Baker-inspired phrasing.  (The song was included in Proulx’s Baker tribute album, Baker’s Dozen.)

Sherry Williams

Williams’ honey-rich voice was at its best on a jaunty “Exactly Like You” and a beautifully lyrical reading of the soaring melody McHugh wrote for “Where Are You.”

Proulx and Williams then teamed up for one of the evening’s highlights, a close harmonized “I’m In The Mood For Love” and a rock-tinged “On The Sunny Side of the Street.”

Deana Martin

Special guest Deana Martin, who is McHugh’s goddaughter, added her own, uniquely expressive version of “I Can’t Give You Anything But Love,” and a delightful interpretation of the McHugh and Dorothy Fields version of “I Won’t Dance,” recalling the song’s dynamic presence in the Fred Astaire/Ginger Rogers version of Roberta.

That’s a lot of songs for one night club set.  But Jimmy McHugh’s musical accomplishments were so profuse – over 279 songs and five Academy Award nominations — that one could easily mention a dozen of his memorable songs that didn’t make it into the program.

Several members of the McHugh family, including his granddaughter, Judy McHugh Larkin – who initiated the celebration — were present for the performance.  Hopefully, Judy can be encouraged to plan another evening of McHugh’s music, including some of his lesser known but equally listenable songs, for a future program.  May 23, the 108^th anniversary of his birth, would be a good date to do it.

Photos by Bob Barry.  To see more of Bob’s Jazzography, click HERE.