Picks of the Week: Mar. 5 – 10

By Don Heckman

Los Angeles

Karen Benjamin and Alan Chapman

- Mar.6. (Wed.)  Karen Benjamin and Alan Chapman.  The husband and wife team of singer Benjamin and pianist Chapman bring an impressive blend of musicality and entertainment to their compelling, always illuminating excursions through the Great American Songbook.  Catalina Bar & Grill.   (323) 466-2210.

- Mar. 6. (Wed.)  George Kahn Trio with Gina Saputo.  Veteran jazz pianist Kahn and his group lay down a vibrant mainstream backing for rising young singer Saputo. Vitello’s.    (818) 769-0905.

- Mar. 6. (Wed.)  Anne-Sophie Mutter.  Grammy-award winning violinist Mutter displays her far-ranging musical interests in a program reaching from Mozart to Lutoslawski.  She’s accompanied by pianist Lambert Orkis.  Valley Performing Arts Center.

- Mar. 7. (Thurs.)  Thelonious Monk Institute All Star Sextet.  A group of the gifted young players from the Monk Institute display their wares with trumpeter Terrell Stafford and singer Lisa Henry.  Vibrato Grill Jazz…etc.  (310) 474-9400.

Gustavo Dudamel

- Mar. 7 – 10.  (Thurs. – Sun.)  Dudamel Conducts The Gospel According to the Other Mary. The Los Angeles Philharmonic performs composer John Adams’ composition based on a text drawn from the Bible by Peter Sellers.   Disney Hall.   (323) 850-2000.

- Mar. 7 – 10. (Thurs. – Sun.)  Rachelle Ferrell. One of the most extraordinary voices in pop, soul and jazz makes a rare Southland appearance.  Catalina Bar & Grill.   (323) 466-2210.

- Mar. 8. (Fri.)  Janice Anderson with the Select Quartet.  Singer Anderson’s richly emotional, story-telling interpretations are backed by pianist Chris Dawson’s fine quintet.  Vitello’s.    (818) 769-0905.

- Mar. 9. (Sat.)  Terry Trotter Trio. Pianist Trotter is a first-call player whose credits reach from Frank Sinatra and Ella Fitzgerald to a long list of films and recordings.  He performs with the equally in-demand drummer Peter Erskine and bassist Chuck Berghofer.  Vitello’s.   (818) 769-0905.

San Francisco

- Mar. 7 & 8.  (Thurs. & Fri.)  Jose Feliciano. Guitarist/singer Feliciano had his first big hits – especially “Light My Fire” in the late ‘60s.  In his late ‘60s, he’s still going strong and still winning Grammys.  Yoshi’s Oakland.    (510) 238-9200.

Seattle

Lydia Pense and Cold Blood

- Mar. 7 – 10. (Thurs. – Sun.) Lydia Pense and Cold Blood. The memorable ‘60s blues, rock and soul band of Cold Blood has gone through various incarnations, with Pense’s richly emotional, Joplin-influenced vocals always present as the showcase talent. Jazz Alley.    (206) 441-9729.

New York

- Mar. 8 & 9.  (Fri. & Sat.) Celebrating Dizzy Gillespie.  Jon Faddis Jazz Orchestra of New York.  Deeply influenced by Gillespie, trumpeter Faddis possesses a rare understanding of the great jazz artist’s creative imagination.  He performs with Jimmy Heath, tenor saxophone, Steve Turre, trombone and conch shells, Ignacio Berroa, drums, Pedrito Martinez, congas.  The Rose Theatre.     (212) 258-9595.

London

Chick Corea

- Mar. 6. (Wed.) Chick Corea and Vigil.  Always in search of imaginative new musical ideas, Corea’s intriguing new group, Vigil, includes saxophonist Tim Garland, guitarist Charles Altura, bassist Hadrien Feraud and drummer Marcus Gilmore.  Ronnie Scott’s.    020 7439 0747.

Paris

- Mar. 7. (Thurs.)  Billy Cobham Band.  Drummer Cobham, a force in jazz fusion since the ‘60s, continues to lead compelling young bands.  New Morning.    33 1 45 23 51 41.

Berlin

- Mar. 8. (Fri.)  Julia Hulsmann Trio featuring Theo Bleckman.  The inventive work of singer, songwriter and pianist Hulsmann is critically praised in her native Germany, but too little heard in other countries.  She performs her with the envelope-stretching vocals of Blecknann. A-Trane.  +49 30 3132.

Milan

Kurt Elling

- Mar. 6 & 7. (Wed. & Thurs.)  Kurt Elling.  Grammy-winning jazz singer Elling has thoroughly established himself as one of the jazz world’s major male vocalists.  Blue Note Milano.    +39 02 6901 6888.

Tokyo

- Mar. 6. (Wed.)  Gregory Porter.  At a time when female jazz singers seem to be dominating the jazz world, Porter is attracting growing attention to the male side of the vocal field.   Blue Note Tokyo.   +81 3-5485-0088.

Live Jazz: Charlie Haden, Larry Goldings and Tri-Tone Asylum at Castle Press

By Don Heckman

Pasadena CA.  It was a night to remember.  A jazz concert in a printing company. The machine-filled Castle Press in Pasadena, to be precise.  With some of the performers positioned on a stage that consisted of a 460-ton printing press.   Add to that the party-like atmosphere, with listeners scattered across folding chairs and bleacher seats, quaffing wine as they enjoyed the music and the unusual setting.

But  what made last Monday’s program so special — beyond the remarkable location — was the announced presence of iconic bassist Charlie Haden.  Teaming up with pianist Larry Goldings, he was performing a day after he had received a Lifetime Achievement Award from the National Recording Academy (the Grammys).

Haden was stricken with post-polio syndrome in 2010 (the consequence of a polio attack when he was 15).   Beyond some jamming at home with Pat Metheny,  he has performed rarely since 2011. And some audience members, aware of his physical maladies, apprehensively awaited his appearance as the climactic moment in the performance.

Charlie Haden

But there was no need to worry about the quality of Haden’s playing.  He and Goldings only did one number, but they made the most of it.  And it was a distinct pleasure to again hear the rich, dark timbres and melodic lyricism that have always been the uniquely appealing characteristics of Haden’s bass playing.   Add to that his intimate musical dialog with Goldings, occasionally calling up his classic Jasmine recording with Keith Jarrett.

The evening’s program, presented by MUSE/IQUE, was titled Jazz Laid Down.  In addition to Haden and Goldings, it featured the determinedly contemporary cross-over jazz of the electro-acoustic band TriTone Asylum.  The six piece ensemble included Allen Mascari,  tenor saxophone, Peter Sepsis, bass, Todd Wolf, drums, Jameson Trotter, piano, Andy Waddell, guitar, and Philip Topping, EVI.

TriTone Asylum

And what, you might ask is an EVI?  The initials stand for Electronic Valve Instrument.  Although it contains its own synthesized sounds, it also can be used  with sampled sounds, and is played with the same lip control and three-valve articulation of an acoustic trumpet.

Both the ensemble sound and the players’ interaction were impacted by the textures of Topping’s EVI playing.  Blending the basic acoustic setting of a jazz quintet with the variable tones of the EVI, they brought some fascinating new views to such familiar jazz items as Freddie Hubbard’s “Little Sunflower,” Ralph Towner’s “Icarus” and Hampton Hawes “Sonora.”  The latter item also served as accompaniment for a jazz-driven solo dance by Haylee Roderick.

Ultimately, however, it was Haden’s appearance that was the high point of this unusual evening.  And one left with the hope that his impressive performance was an important step on his road to full recovery.

Photos by Ben Gibbs.

Here, There & Everywhere: The 2013 Jazz Grammy Awards

By Don Heckman

The 55^th annual Grammy Awards are now history.  But not exactly history-making, especially in the Jazz categories.  It’s hard to imagine anyone being surprised by most of the results.  Or, in fact, by most of nominations.

That’s not to demean, in any way, the work of the jazz artists who did receive Grammy statuettes yesterday.  The list of winners includes Chick Corea and Gary Burton, Esperanza Spalding, Pat Metheny, Arturo Sandoval and the late Clare Fischer’s Latin Jazz Big Band, in the five Jazz categories; and Chick Corea, the late Gil Evans and Spalding and Thara Memory in the Composing and Arranging categories, which have become virtual adjuncts to the Jazz listings.  One could never dispute their skill, artistry or worthiness as winners.

On the upside, it’s good to see the Latin Jazz Category returned to the line-up this year.  But the overall process itself is still uneven, to say the least.  Start with the first category, “Best Improvised Solo.”  What in the world are the standards a voter should use to make choices here?  Improvisation, by definition, is improvised.  How does one determine which spontaneous musical invention is “Best”?

“The Best Jazz Vocal Album” category mixes male and female singers in the same group.  Aside from the reduced number of possible nominees that can be chosen in a gender non-specific category, is it really fair or logical to ask voters to make comparisons between, say, Esperanza Spalding and Al Jarreau?

“The Best Instrumental Jazz Album” is a fairly straight-forward category.  But there are a pair of Chick Corea nominations in this group (especially since he also has two other nominations and a couple of wins in this year’s Awards).  Chick is one of the world’s finest jazz artists, and always worthy of being heard.  But, with the relatively small acknowledgment of jazz in the overall Grammy Award process, shouldn’t the honors be spread around a bit more?

The “Best Large Jazz Album” is hard to figure. It includes only three nominees – especially odd given the surprising numbers of large ensemble jazz recordings that have been arriving lately.

The ”Best Latin Jazz Album” winning choice is a much-deserved acknowledgement of the prolific and musically compelling Latin jazz work of the late Clare Fischer.  And it is done so amid a gifted group of artists reaching across the wide territory of Latin jazz.

Finally, the Best Instrumental Composition, Best Instrumental Arrangement, and Best Instrumental Arrangement Accompanying Vocalist(s) categories can all be praised for the high quality of the nominations, all much deserved.  And it’s especially rewarding to see the honoring of the late master arranger Gil Evans – with nominations and a win – for selections from the Centennial album, a collection of previously unrecorded Evans compositions and arrangements.

Last year I signed off on my Grammy comments by underscoring the fact that every jazz player –like every other musical artist – has to be delighted to receive a gold statuette.  The same applies this year, and every year.  But once again the significance of the Grammys to jazz, and the Awards’ commitment to truly honoring one of America’s greatest cultural contributions, continues to diminish.  Jazz deserves better care.

Here are the Nominees and the Award Winners:

JAZZ AWARDS

31. BEST IMPROVISED SOLO

.

***WINNER:CHICK COREA AND GARY BURTON

”Hot House”  (Track from  Hot House Concord Jazz)

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.

- RAVI COLTRANE

“Cross Roads” (Track from Spirit Fiction Blue Note)

- CHICK COREA

“Alice in Wonderland” (Track from Further Explorations Concord Jazz)

- KENNY GARRETT

“J.Mac” (Track from Seeds From the Underground Mack Avenue Records)

- BRAD MEHLDAU

“Ode” (From Ode Nonesuch)

 * * * * * * * * * *

 32. BEST JAZZ VOCAL ALBUM

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***WINNER: ESPERANZA SPALDING

Radio Music Society (Heads Up International)

.

.

.

- DENISE DONATELLI

Soul Shadows (Savant Records)

 - KURT ELLING

1619 Broadway: The Brill Building Project Concord Jazz)

-  AL JARREAU  (and the Metropole Orkest)

Live (Concord)

- LUCIANA SOUZA 

The Book of Chet (Sunnyside Records)

 * * * * * * * * * *

 33. BEST INSTRUMENTAL JAZZ ALBUM

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***WINNER: PAT METHENY UNITY BAND

Unity Band (Nonesuch)

.

.

- CHICK COREA, EDDIE GOMEZ, PAUL MOTIAN

Further Explorations (Concord Jazz)

- CHICK COREA AND GARY BURTON

Hot House (Concord Jazz

- KENNY GARRETT

Seeds From the Underground (Mack Avenue Records)

 - AHMAD JAMAL

Blue Moon (Jazz Village)

* * * * * * * * * *

34. BEST LARGE JAZZ ENSEMBLE ALBUM

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***WINNER: ARTURO SANDOVAL BAND

Dear Diz (Every Day I Think of You) (Concord Jazz)

.

.

.

- GIL EVANS PROJECT

Centennial: Newly Discovered Works of Gil Evans (ArtistShare)

- BOB MINTZER BIG BAND

For The Moment (MCG Jazz)

 * * * * * * * * * *

 35. BEST LATIN JAZZ ALBUM

,

***WINNER: THE CLARE FISCHER LATIN JAZZ BIG BAND

Ritmo! (Clare Fischer Productions/Clavo Records)

,

,

- CHANO DOMINGUEZ

Flamenco Sketches (Blue Note)

- BOBBY SANABRIA BIG BAND

Multiverse (Jazzheads)

- LULCIANA SOUZA

Duos III (Sunnyside Records)

- MANUEL VALERA NEW CUBAN EXPRESS

New Cuban Express (Mavo Records)

* * * * * * * * * *

 59. BEST INSTRUMENTAL COMPOSITION

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.

***WINNER: CHICK COREA

“Mozart Goes Dancing” (from Hothouse, Concord Jazz)

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- CHUCK LOEB

“December Dream” (from Esprit De Four Heads Up International.)

 - CHRIS BRUBECK AND DAVE BRUBECK

“Music of Ansel Adams: America” with the Temple University Symphony Orchestra (BCM&D Records)

- BILL CUNLIFFE

“Overture, Waltz and Rondo” with the Temple University Symphony Orchestra (BCM&D Records)

- BILL HOLMAN

“Without A Paddle” (from High On You Bosco Records)

 * * * * * * * * * *

 60. BEST INSTRUMENTAL ARRANGEMENT

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***WINNER: GIL EVANS (Gil Evans Project)

“How About You” (from Centennial:Newly Discovered Works of Gil Evans ArtistShare)

.

.

- MICHAEL PHILIP MOSSMAN (for the Bobby Sanabria Big Band)

“Afro-Cuban Jazz Suite For Ellington” (from Multiverse Jazzheads)

- BOB MINTZER  (for the Bob Mintzer Big Band)

“Irrequieto” (from For The Moment MCG Jazz)

-WALLY MINKO (for Arturo Sandoval Band)

“A Night In Tunisia (Actually An Entire Weekend!) (from Dear Diz (Every Day I Think Of You Concord Jazz)

- GORDON GOODWIN  (for Arturo Sandoval Band)

“Salt Peanuts (Mani Salado)”  (from Dear Diz (Every Day I Think Of You Concord Jazz)

 * * * * * * * * * *

 61. BEST INSTRUMENTAL ARRANGEMENT ACCOMPANYING VOCALIST (S)

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***WINNER – THARA MEMORY & ESPERANZA SPALDING (for Esperanza Spalding)

“City of Roses” (from Radio Music Society Heads Up International)

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.

- NAN SCHWARTZ  (for Whitney Claire Kaufman)

“ Wild Is the Wind”  (from The Greatest Film Scores of Dimitri Tiomkin” LSO Live)

- GIL EVANS  (for Gil Evans Project and Luciana Souza)

“Look To the Rainbow” (from Centennial:Newly Discovered Works of Gil Evans ArtistShare)

- SHELLY BERG  (for Lorraine Feather)

“Out There” (from Tales of the Unusual Jazzed Media)

- VINCE MENDOZA  (for Al Jarreau and the Metropole Orkest)

“Spain (I Can Recall)” (from Live  Concord Records)

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.

* * * * * * * *

Photos by Faith Frenz.

Live Jazz: The Clare Fischer Big Band at Typhoon

By Michael Katz

Santa Monica, CA.  Anyone who has followed the Latin jazz scene in Southern California is well acquainted with the work of Clare Fischer. The keyboardist and composer, who passed away in January, 2012, left a trove of compositions, including “Pensitiva” and “Morning” and a large jazz ensemble that his son, Brent, has been leading for the past decade. Tuesday night at Typhoon, in Santa Monica, Brent used the occasion of the band’s Grammy nomination to present an eclectic set of Latin, straight ahead and classically influenced jazz.

The Grammy nomination (Best Latin Jazz) is for Ritmo! and over two sets, the band  covered most of the tracks on the CD.  Its energy base stemmed from a pulsating rhythm section that featured Quinn Johnson on electric keyboards, providing the kinetic backdrop that Clare had contributed to the Cal Tjader sound. Billy Hulting kept things percolating on the congas and Ron Manoag was steady on the jazz drums and percussion. Brent Fischer provided splashes of support on the vibes, though he stuck mostly to gilding the basic melodic lines, and Ken Wild held forth on bass.

Brent Fischer and the Clare Fischer Big Band

The opening numbers “Funquiado” and “Guarabe” showed off the depth of the band’s sections. The trumpets featured Rob Schaer as section leader and the veteran Ron Stout as lead soloist. Stout helped launch the evening with his work on “Funquiado,” while Josh Aguiar and Brian Mantz took the lead on “Guarabe.” The most stunning turn on that composition was by the great trombonist Francisco Torres. Torres, who has shined throughout the jazz scene here in LA, has a sound both lush and strident. His solos snapped both band and audience to attention, then melted back to the insistent beat of “Guarabe.”

Ten years ago, Brent Fischer recorded a jazz arrangement of Mussorgsky’s Pictures At An Exhibition and the various movements were integrated into both sets Tuesday night. Brent took full advantage of a woodwind section that had all the players doubling on saxophones, clarinets and flutes.  Alex Budman, the leader of the section, excelled on alto, flute, and even piccolo. In the movement that opened up the second set, tenor sax player Tom Luer picked up his flute and bari saxist Lee Callet completed the trio on alto flute. Later, on “Ballet of the Unhatched Chicks,” the section switched to clarinets, with Kirsten Edkins delivering some beautiful work on soprano sax.

One of the highlights of the evening was “In The Beginning,” which I would list as my favorite Clare Fischer tune that I never knew he’d written until last night.  Hubert Laws recorded it on one of his classic CTI albums, with Clare on keyboards. The frenetic lines at the song’s outset reflect the chaos of Creation, then drop slowly into the primordial ooze of a funky blues riff. Lee Callet, on baritone sax, grabbed that blues line perfectly and carried it home, handing it off to Budman and then the rest of the band as Brent Fischer led the ensemble back to its early scramble.

There were lots of moments to admire over the evening’s performance. The space itself, on the second floor of the airport’s small terminal, provided surprisingly good acoustics; all the solos were robust and clear. Trombonist Scott Whitfield had a nice scat-singing chorus as the second set opened, to go along with strong playing throughout. I especially liked the tenor sax work of Tom Luer. There’s a select few on the instrument who possess an unmistakable sound.  I wouldn’t put anyone in the class of Trane or Getz on the basis of a few solos, but Luer’s tone was reminiscent of Ernie Watts; he’s someone I’d like to hear more from.

As the second set continued to a typically diminished LA crowd, I put my pen down and floated along with the rhythms of the band’s particular West Coast Latin sound,  one that was carved out  by the likes of Cal Tjader and Clare Fischer and continues on with Poncho Sanchez and Brent Fischer. It seems particularly suited to our climate, even on a chilly February night.  The band closed with a three part medley, “Canonic Passacaglia, Blues and Vamp ’til Ready,” which featured, among others, Tom Luer again on tenor and Josh Aguiar on trumpet.  Fischer added a flourish on vibes, and that was the end of the pre-Grammy celebration.

Whether they win or not, it’s a terrific legacy to a great sound.

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

Click HERE to visit Michael Katz’s new personal blog, Katz of the Day.

Picks of the Week: Feb. 5 – 10

By Don Heckman

Los Angeles 

Sally Kellerman

- Feb. 6. (Wed.)  Sally Kellerman.  The inimitable Ms. Kellerman is back, this time with an evening of Valentine’s Day songs in a program titled, appropriately, “Love.”  Don’t miss it.  Vitello’s.    (818) 769-0905.

- Feb. 7 – 10. (Thurs. – Sun.)  Robben Ford. Guitarist Ford, who moves easily across boundaries from blues to jazz and beyond, celebrates the imminent release of his new album, Bringing It Back Home.  Catalina Bar & Grill.  (223) 466-2210.

- Feb. 8. (Fri.)  Bill Cunliffe Big Band.  “Bach to the Future.”  Grammy-winning and Grammy-nominated pianist/composer/arranger Cunliffe leads his big band in his jazz imagining of Bach’s Goldberg Variations.  Later, starting at 9:30 p.m., pianist John Campbell will perform in a new Vitello’s weekly event – Piano Night in the downstairs dining room.   Vitello’s.   (818) 769-0905.

- Feb. 8 & 9. (Fri. & Sat.)  Rhythm of the Dance.  Irish step dancing in all its colorful variations, delivered by an expert company of dancers.  Cerritos Center for the Performing Arts  (562) 916-8501.

Wayne Shorter

- Feb, 9. (Sat.)  Wayne Shorter Quartet with Esperanza Spalding and the Los Angeles Philharmonic.  Saxophonist/composer Shorter presents the world premiere of a work for Esperanza and the L.A. Phil, commissioned by the Philharmonic.  Disney Hall.  (323) 850-2000.  www.laphil.com

- Feb. 9. (Sat.)  Rob Lockhart Quartet.  Versatile saxophonist Lockhart, an A-list sideman, steps into the spotlight.  He’s backed by pianist Josh Nelson, bassist Pat Senatore and drummer Mark Ferber.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Feb. 9 & 10. (Sat. & Sun.)  The Russian National Ballet Theatre. One of Russia’s finest ballet companies presents a pair of classics.   Sat.: Sleeping Beauty.  Sun.: Cinderella.  Valley Performing Arts Center.    (818) 677-3000.

- Feb, 10. (Sun.)  Ann Hampton Callaway.  “The Streisand Songbook”  Pianist/singer Callaway, who moves easily from jazz to pop to cabaret, offers a program of songs associated with Barbra Streisand.  Disney Hall.  (323) 850-2000.

San Francisco

- Feb. 7 – 10 (Thurs. – Sun.).  Dave Holland.  Bassist Holland displays his far-reaching musical versatility in four unique programs.  Thurs: Solo.  Fri.: Duo with Kenny Barron.  Sat.: Quintet.  Sun.: Dave Holland Prism.  SFJAZZ at Miner Auditorium.     (866) 920-5299.

Washington D.C.

Joshua Redman

- Feb. 7 – 10 (Thurs. – Sun.)  Joshua Redman.  The always adventurous, Grammy-nominated saxophonist stretches the musical genre-boundaries in search of new and compelling improvisational ideas.  Blues Alley.   (202) 337-4141.

New York City

- Feb. 5 – 9.  (Tues. – Sat.)  Lou Donaldson Organ Quartet.  He’s one of the still active iconic jazz saxophonist, performing this time in the grooving environment of an organ quartet.  Birdland.    (212) 581-3080.

- Feb. 5 – 10. (Tues. – Sun.)  Ron Carter Quartet.  Carter is not only a brilliant bassist and composer, he’s also a stimulating leader who knows how to assemble an imaginative jazz group.  This time out, he’s with pianist Renee Rosnes, drummer Payton Crossley and percussionist Rolando Morales-Matos.  The Blue Note.    (212) 475-8592.

Paris

Marianne Faithfull

- Feb. 9. (Sat.)  Marianne Faithfull and Bill Frisell.  It’s a fascinating combination.  Pop star/actress Faithfull has been an iconic figure since the ‘60s.  Versatile guitarist Frisell seems determined to try something new in every outing.  The combination should be intriguing.   New Morning.   01 45 23 51 41.

Copenhagen

- Feb. 7 & 8. (Thurs. & Fri.)  Leszek Mozdzer/Lars Danielsson Duo.  The names may be unfamiliar to English-speaking jazz fans, but pianist Mozdzer and bassist Danielsson play together with a spirit of jazz togetherness that reaches beyond the limits of languages. Jazzhus Montmartre.    (+45) 70 263 267.

Milan

- Feb. 7 – 9.  )Thurs. – Sat.)  Billy Cobham. Veteran drummer Cobham has assembled a band of players from France and England into a collective of true international jazz.   Blue Note Milano.    02.690 16888.

Tokyo

Monty Alexander

- Feb. 8 & 9. (Fri. & Sat.)  Monty Alexander: The Harlem-Kingston Express.  It’s a perfectly named band, with Jamaica-born pianist Alexander blending his impressive jazz playing with the traditional sounds and rhythms of his roots. Blue Note Tokyo.   03-5485-0088.

* * * * * * * *

Sally Kellerman, Wayne Shorter and Joshua Redman  photos by Tony Gieske.

Live Music: Steve Earl and Allison Moorer in a CAP UCLA Concert at Royce Hall

By Mike Finkelstein

Last Saturday night, veteran folk singer Steve Earle and his wife Allison Moorer played a stripped down show in a CAP UCLA concert at Royce Hall.   They used a short rotation of his guitar, harmonica, and mandolin, with her guitar, accordion, and piano to give us all a reminder of how the essence of any concert is in the draw of the song.   With minimal instrumentation it takes a strong song to hold an audience’s attention. Happily, Steve Earle brings over 40 years of songwriting experience to the table and he trotted out several gems for this show.

Earle was the burly guy onstage, with long hair, a long beard and dressed in faded denim, boots, a bandana wrapped around his strumming wrist…and his glasses.  He initially suggested a biker image, but as the show progressed the writer in him asserted itself.  From the beginning he exuded no nonsense and a very direct delivery, which is right in keeping with folk tradition of telling a straight story in a simple song.  Since folk songs can often get very simple in musical terms, it’s a familiar folkie ploy to use capos up and down a guitar neck to get a different sounding inversion of a familiar chord.  It tends to keep the sound fresh and Earle did move that capo around quite a bit.

Steve Earle and Allison Moorer

The show started with Steve and Allison’s Grammy-nominated duet, “Days Aren’t Long Enough,” a shimmering reflection of finding one’s self right there in love with the one you’re singing with.  Between songs, Earle’s words were stroked along by guitar strums, and he let us in on the wisdom behind some of his song’s subject matter.   If there ever was a medium for someone to get on the platform and share their opinions, it is folk music.  Earle’s banter was pointed, but delivered in such a calm composed way that we heard it conversationally.  One nice segue involved a description of how his son found one of several loaded guns he kept at home and would not divulge where it was.  After making the difficult parenting decision to send the boy to a work camp, it seems the kid ‘fessed up inside a day.  (But that was the end of Earle’s keeping firearms at home).  And then he went into the powerfully resigned gun control song, Johnny Cash’s aptly titled, “The Devil’s Right Hand.” The song is truly poignant and it captures, beautifully, the fascination, danger, and tragedy that are part and parcel of guns.

Earle braced us a bit before singing “Burn It Down.” In this case “it” is the local Walmart and the details of it all didn’t seem to bother anyone that I could see.  It was actually refreshing to see a performer put his perhaps controversial point of view out there honestly in the open.  He also dished on trade unions, reminding us of all the good that they had brought us, and on how we really would be in a much better place if we gave teachers the respect they deserve.

Not all the tunes were political but the sentimental ones could get heavy.  While “Sparkle and Shine,” delivered with the capoed sound and a set of simple but sentimentally affectionate lyrics, Earle also threw in a cover of Woody Guthrie’s legendary and haunting “Deportee,” about the uncertain lives of migrant fruit pickers.  And a Steve Earle set wouldn’t be complete without the inclusion of his own “Copperhead Road,” the tale of a Viet Nam vet who grows up around moonshine and takes to dealing drugs on his return.  It’s a rugged, evocative song that puts you right in the middle of the narrative…and he sang it tough as nails, hammering and slicing through the chords with his thumb pick much like chopping his way through a jungle.

The Living Sisters, a local group of girls who sing like the proverbial sirens, opened the show.   Backed by an upright bass and a muted cornet, the girls passed a parlor guitar between themselves and melted our hearts with their four part harmonies – tied ‘em up in “Double Knots,” actually.

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

Live Jazz: Sinne Eeg Upstairs at Vitello’s

By Don Heckman

Studio City, CA.  One of the great pleasures of writing about music arises on those rare occasions when a relatively unknown artist makes an unheralded, but irresistibly appealing first appearance.

As happened Friday night in the performance of Danish singer Sinne Eeg (pronounced ‘Seen-uh Eeg) at Vitello’s upstairs jazz room.  Although Eeg is a highly regarded jazz artist in Europe, she is little known in the U.S., and the Vitello’s gig was one of her initial performances in this country.

Sinne Eeg with Roger Neumann, Larry Koonse, Darek Oles and Peter Erskine

In a two set program encompassing standards as well as her own originals, she sang with the enthusiastic support of saxophonist Roger Neumann, guitarist Larry Koonse, bassist Darek Oles and drummer Peter Erskine.  The lyrics, as well as her between song comments, were delivered in flawless English.  Sinne’s choice of material embraced a range of songs demanding rich interpretive skills, lyrically, musically and dramatically.  And she delivered, on all counts.

Sinne Eeg

There were far too many high points to mention them all.  But some should be noted.  In the first set, she quickly displayed her extraordinary improvisational scatting in a delightful romp through “It Might As Well Be Spring” and a briskly rhythmic “What A Little Moonlight Can Do.”  Her balladry was equally appealing on “Detour Ahead” and her own tune, “Last Ride.”

The second set was even more impressive, featuring another pair of beautifully crafted originals – the lovely “My Treasure,” sung with Oles’ sensitive bass accompaniment, and the equally memorable “Love Is A Time of Year.” She also offered her exquisite renderings of six more standards, reaching from a bossa nova version of  “Secret Love” and a jaunty take on “Better Than Anything” to an intimate reading of  “What Are You Doing the Rest of Your Life?” (Too bad the Bergmans weren’t in the audience; they would have loved Sinne’s interpretation.)

As she sang one mesmerizing tune after another, I couldn’t help but wonder why this remarkable jazz artist has had such minimal visibility outside of Europe.  She has released six albums in the past ten years – the latest being The Beauty of Sadness in which she performs with a full orchestra.  And both her recorded and her live performances merit the full attention of jazz fans (and jazz journalists) around the world.

Sinne is one of the rare jazz vocalists who fully deserve the label of “musicians’ musician.  Why?  Because everything she sings issues from a treasure trove of interpretive story telling and multi-layered musicality.  In this performance, her scatting reached far beyond the white-note be-bopping characteristic of many – maybe even most – jazz singers.  Sinne, who played alto saxophone as a youth – scatted with the adventurous harmonic subtlety and rhythmic drive of a world class horn player.  And she did so while remaining in full contextual contact with the inner meaning of a song.

The name – Sinne Eeg – maybe hard to remember, at first.  But anyone who listens to her album, The Beauty of Sadness, as well as her similarly appealing Don’t Be Blue, or hears her in live performance will have no difficulty recalling either the name or the unforgettable music of this remarkable artist.  If there’s any justice in the world, Grammy nominations will be beckoning to Sinne in 2013 and beyond.

Performance photos by Faith Frenz.

Picks of the Week: Jan. 7 – 13

By Don Heckman

Los Angeles

Ariana Savalas

- Jan. 9.  (Wed.)  Ariana Savalas and Corky Hale.  Yes, the name “Savalas” is familiar; Ariana is the daughter of the veteran actor Telly Savalas.  But as a singer, she has an appealing style that is uniquely her own.  She’s backed by the musically supportive accompaniment of pianist/harpist Hale. Vibrato Grill Jazz…etc. (310) 474-9400.

- Jan. 9. (Wed.)  Betty Bryant.  Singer/pianist Betty Bryant gives another seminar in jazz piano and vocals, as entertaining and swinging as she is musically inventive.  H.O.M.E.  Beverly Hills.   (310) 271-4663.

- Jan. 9. (Wed.)  John Beasley.  Pianist/composer Beasely begins a January residency at the Blue Whale, starting with a duo with the unique vocalist Dwight Trible.  The Blue Whale.   (213) 620-0908.

- Jan. 10. (Thurs.) Gerald Wilson Orchestra. At 94, arranger/composer/bandleader Wilson still brings his Orchestra vividly to life everytime he gives the down beat on one of his memorable arrangements.  Catalina Bar & Grill.   (323) 466-2210.

Amadeus Leopold

- Jan. 10. (Thurs.)  Amadeus Leopold.  The brilliant young Korean violinist Leopold – whose original name was Hahn-Bin – applies his technical prowess and emotional imagination to a uniquely imaginative view of the classical repertoire.  CAP UCLA.  Royce Hall.

- Jan. 10. (Thurs.)  Ibrahim Maalouf Quintet. (Concert cancelled due to visa problems.) Lebanese trumpeter Maalouf effectively blends Arabic traditional sounds and rhythms with contemporary jazz funk and roots rock.  Theatre Raymond Kabbaz.  A Jazz Bakery Movable Feast.    (310) 271-9039.

- Jan. 11. (Fri.)  Sinne Eeg.  Highly praised Danish singer Eeg performs with the stellar backing of Larry Koonse, Peter Erskine, Darek Oles and Roger Neumann.  Vitello’s.    (818) 769-0905.

- Jan. 11. (Fri.)  Los Lobos. The multiple Grammy-winning band from East L.A. continues to continue to find linkages between Chicano rock, Tex-Mex, r&b and traditional Hispanic styles.  The Cerritos Center for the Performing Arts.    (562) 916-8501.

Lainie Kazan

- Jan. 11 – 13. (Fri. – Sun.)  Lainie Kazan.  Actress/singer Kazan’s checkered career reaches from understudying Barbra Streisand in Funny Girl to dozens of high visibility film roles.  But she’s also a uniquely gifted singer with a lush sound and a gift for richly emotional interpretations of the book of standards.  Catalina Bar & Grill.   (323) 466-2210.

- Jan. 12 & 13. (Sat. & Sun.)  Steve Ross.  Puttin’ on the Ritz.  “The Music of Fred Astaire.  Singer Ross presents a cabaret show to remember, with some of the greatest songs from film musicals.  Vitello’s.    (818) 769-0905.

Curtis Stigers

- Jan. 13. (Sun.)  Curtis Stigers & His Band.  Saxophonist/singer Stigers has spent most of his career emphasizing his vocal skills, producing some memorable, jazz-tinged, charting songs since the release of his self-titled, platinum debut recording in 1991.  Kirk Douglas Theatre.  A Jazz Bakery Movable Feast.    (310) 271-9039.

- Jan. 13. (Sun.)  Monterey Jazz Festival on Tour.  The MJF prides itself on the iconic line up of performers for the annual September Festival programs.  And here’s an equally iconic group of artists – Dee Dee Bridgewater, Christian McBride, Benny Green, Lewis Nash, Chris Potter and Ambrose Akinmusire – proudly carrying the MJF banner in the off season.  Segerstrom Center for the Arts.    (714) 556-2787.   (The Monterey Jazz Festival on Tour also performs at the Valley Performing Arts Center on Jan. 23.

San Francisco

Wesla Whitfield

- Jan. 9. (Wed.)  Wesla Whitfield with the Mike Greensil Trio.  Whitfield has been offering her view of the Great American Songbook for more than three decades, most often with the backing of her husband, pianist Greensil.  Together they provide an irresistible evening of memorable music.Yoshi’s Oakland.    (510) 238-9200.

New York

- Jan. 10.  (Thurs.) Janis Ian.  Singer/songwriter Ian made her breakthrough with “Society’s Child” in the mid-‘60s, followed by her Grammy Award-winning “At Seventeen” in the mid-‘70s.  At 81, she’s still going strong.  City Winery.    (212) 608-0555.

- Jan. 11 & 12. (Fri. & Sat.)  The 2013 NYC Winter Jazzfest.  Six venues around Greenwich Village feature performers such as James Carter, Monty Alexander, Claudia Acuna, Rudresh Mahanthappa, Rez Abbasi and numerous others, young and mature.  The Winter Jazzfest.

Carol Welsman, Peter Marshall and Denise Donatelli

- Jan. 11 – 14. (Fri. – Mon.) “And Then She Wrote.”  With Peter Marshall, Carol Welsman and Denise Donatelli.  Emmy Award-winner singer/actor Marshall has created an entertaining overview of the many memorable songs in the Great American Songbook written by women.  And he couldn’t have chosen a better pair of singers to join him in a delightful evening of music, dance and humor than Juno Award nominee Welsman and Grammy nominee Donatelli.   Click HERE to read an iRoM review of the Los Angeles performance of “And Then She Wrote.“  The Metropolitan Room.   (212) 206-0440.

- Jan. 12 & 13. (Sat. & Sun.)  Ramsey Lewis and John Pizzarelli.  Straighten Up and Fly Right: A Tribute to Nat “King” Cole.  What a great combination: the spirited piano work of Lewis, the lively singing and guitar of Pizzarelli, and the great book of songs associated with Nat Cole.  The Blue Note.   (212) 475-8592.

Washington D.C.

Grace Kelly

- Jan. 8. (Tues.)  Grace Kelly.  Korean/American alto saxophonist and singer Kelly, who just turned 20 in 2012, has firmly established herself as one of the gifted jazz artists of her generation.  Blues Alley.     (202) 337-4141.

London

- Jan. 9 & 10.  (Wed, & Thurs.)  Larry Goldings, Peter Bernstein and Bill Stewart.  Described in the ‘90s by the New York Times as the “best organ trio of the last decade,” the Goldings/Bernstein/Stewart combination continues to get better and better.  Ronnie Scott’s.   +44 (0)20 7439 0747.

Copenhagen

- Jan. 10 & 11. (Thurs. & Fri.)  “A Tribute to Anita O’Day.”   Signe Juhl and the Nikolaj Bentzon 3. Singer Juhl, backed by pianist Bentzon’s prime trio, celebrates the lively musical history of Anita O’Day.  Jazzhus Montmartre.    (+45) 70 263 267.

Milan

- Jan. 11 & 12. (Fri. & Sat.)  Tania Maria.  Grammy-nominated Brazilian singer/pianist and composer has been described as Brazil’s finest native jazz artist.  At 64, she continues to produce memorable recordings and live performances.  The Blue Note Milano.     02.6901 6888.

Picks of the Week: Aug. 14 – 19

By Don Heckman

Los Angeles

- Aug. 14 & 15. (Tues. & Wed.) Michael Jackson the Immortal World Tour.  Cirque du Soleil.  The music and lyrics of Michael Jackson are the foundation for a show that “immerses audiences in Michael’s creative world and literally turns his signature moves upside down,” performed by the incomparable artists of Cirque du Soleil.   Staples Center.   (213) 742-7100.

- Aug. 15. (Wed.)  Joe Cocker and Huey Lewis & The News.  A pair of still vitally active rock icons whose music reaches from the ‘60s to the present make for a rare evening of engaging musical memorabilia.  Greek Theatre.    (323) 665-5857.

- Aug. 15. (Wed.)  Ron Kalina Trio. He’s a virtuoso jazz harmonica player who also doubles on piano, with a resume including recordings with the likes of Linda Ronstadt, Joe Williams, Anita O’Day and dozens of others. Hear him in action, backed by guitarist Barry Zweig, bassist Pat Senatore and drummer Kendall Kay.  Vibrato Grill Jazz…etc.     (310) 474-9400.

Eddie Palmieri

- Aug. 15. (Wed.)  Eddie Palmieri, Ruben Blades.  A pair of legendary Latin jazz and salsa giants share the stage on a Wednesday jazz night at the Bowl, demonstrating first hand the exciting linkages between jazz and Latin dance rhythms. Hollywood Bowl.   (323) 850-2000.

- Aug. 15 – 18. (Wed. – Sat.)  Terence Blanchard Quintet. Critically praised trumpeter Blanchard takes a break from his busy schedule as a film composer, Artistic Director of the Thelonious Monk Institute and Director of the Henry Mancini Institute, to lead his Grammy-winning jazz group.  Catalina Bar & Grill.   (323) 466-2210.

- Aug. 16. (Thurs.)  De Temps Antan.  The Quebecois ensemble makes its West Coast debut, performing the traditional songs of French Canada.  Skirball Center.     (310) 440-4500.

- Aug. 17. (Fri.)  Wolff & Clark Expedition.  Pianist Michael Wolff’s credits reach from Cannoball Adderley. Sonny Rollins and others to a stint as the bandleader on the Arsenio Hall Show.  He’s backed by the stellar rhythm team of drummer Mike Clark and bassist Brian Bromberg.  Vitello’s.    (818) 769-0905.

- Aug. 17 & 18. (Fri. & Sat.)  Juanes with the Hollywood Bowl Orchestra.  Multiple Latin Grammy winning singer/songwriter/guitarist Juanes performs with the Youth Orchestra of Los Angeles, the Cal Voce Singers and the Hollywood Bowl Orchestra conducted by Thomas Wilkins.  And with fireworks, too.  Hollywood Bowl.    (323) 850-2000.

Sara Gazarek

- Aug. 18 & 19. (Sat. & Sun.)  Sara Gazarek.  At a time when jazz singers are arriving in waves, Gazarek is one of the rare few whose remarkable potential is apparent in everything she sings.  She celebrates her new album, Blossom & Bee with special guest keyboardist Larry Goldings and the backing of pianist Josh Nelson, bassist Hamilton Price and drummer Zach Harmon.  Vitello’s.    (818) 769-0905.

- Aug. 19. (Sun.)  Gerald Wilson Big Band.  Well into his nineties, Wilson remains one of the iconic figures of big band jazz.  And watching him in action with hits all-star group is one of the pleasures of experiencing live jazz.  Catalina Bar & Grill.   (323) 466-2210.

- Aug. 19. (Sun.)  Dudamel and Domingo.  The Hollywood Bowl’s pairing of charismatic classical music figures continues with Gustavo Dudamel and the Los Angeles Philharmonic joining for the first time with the great tenor Placido Domingo.  Hollywood Bowl.   (323) 850-2000.

San Francisco

Benny Green

- Aug. 16. (Thurs.)  The Benny Green Trio.  A jazz professional as a teen-ager, pianist Green’s career has been expanding ever since, establishing him as one of the most imaginative and listenable players of his generation.  He’s backed by bassist Peter Washington and drummer Kenny Washington.  Yoshi’s Oakland.    (510) 238-9200.

Seattle

- Aug. 16 – 19. (Thurs. – Sun.)  Karrin Allyson. Grammy nominated singer-pianist Allyson brings rich layers musicality to everything she sings or plays.  Hopefully she’ll include some selections from her latest album, ‘Round Midnight.   Jazz Alley.    (201) 441-9729.

Boston

- Aug. 18. (Sat.)  Kenny Werner. Pianist Werner’s versatility – he is as adept at backing singers as he is at straight ahead jazz playing – no doubt traces to the mind-body techniques explored in his thoughtful book on improvisation, Effortless Mastery.  Regatta Bar.   (617) 661-5000.

New York

John Abercrombie

- Aug. 14 – 18. (Tues. – Sat.)  The John Abercrombie Quartet.  Always seeking adventurous new jazz combinations, Abercrombie’s latest group features saxophonist Joe Lovano, bassist Drew Gess and drummer Adam Nussbaum.  Birdland.    (212) 581-3080.

- Aug. 14 – 19. (Tues. – Sun.)  Enfants Terribles.  Lee Konitz, Bill Frisell, Gary Peacock and Joey Baron. A stellar array of world-class jazz players celebrate their new CD, Enfants Terribles. The Blue Note.   (212) 475-8592.

- Aug. 16 – 19. (Thurs. – Sun.)  The Tierney Sutton Band.  Singer Sutton has been working with her band for nearly two decades, and the results are apparent in the extraordinary music they make together.  The Jazz Standard.  (212) 576-2561.

London

- Aug. 14 – 18. (Tues. – Sat.)  Roy Ayers. Vibraphonist Ayers has been, and continues to be, a pioneer in blending jazz with Afro-beat, funk and hip hop.  Ronnie Scott’s.   (0) 20 7439 0747.

Tokyo

Aug. 14 & 15.  Joyce.  Brazilian singer/songwriter/guitarist Joyce Moreno has been blending jazz with bossa nova since the late ‘60s.  Blue Note Tokyo.   03.5485.0088.

Eddie Palmieri photo by Tony Gieske.