Live Music: Michael Feinstein at the Valley Performing Arts Center

By Don Heckman

Northridge, CA. One of the first times (and there were many) that I reviewed a Michael Feinstein performance was in 1991 for the Los Angeles Times. I described him then as a “reincarnation of a classic movie juvenile lead. Slicked-back Dick Powell hair, flashing Russ Columbo eyes, a smile that would charm the Sphinx.”

Twenty two years later, Feinstein – now 56 – could still come pretty close to that image of the movie juvenile lead. When he strolled on stage Saturday night at the Valley Performing Arts Center, slender and full of vitality, his warm smile gleaming, he was still as dynamic and vital as he was two decades ago.

Michael Feinstein

In the interim, of course, Feinstein has thoroughly established himself as one of the prime devoted caretakers of American popular song. His archivist’s dedication to preserving the classic works of Gershwin, Kern, Porter, Berlin, Mercer and so many others has continued to grow over the years. And, equally important, he has personally taken on the challenge of keeping those works alive in performance.

Feinstein has always been a fine singer/pianist, the high quality of his abilities apparent even in his early, cabaret performances in the ’80s at the Cinegrill. But his appearance at VPAC was the work of a mature, masterful performing artist. Far more than simply singing the classics from the Great American Songbook, Feinstein was as informative as he was entertaining.

Each song was introduced with background information about the composer and/or lyricist, often with whimsical stories about the circumstances behind the creation of the song. Many of Feinstein’s comments traced to his personal associations with the songwriters. One example: his long term friendship with Ira Gershwin, tracing to a period when he worked as Gershwin’s personal assistant. That connection was the starting point for Feinstein’s recently published book, The Gershwins and Me (Simon & Schuster).

Michael Feinstein

Celebrating his Gershwin linkage, he sang a superb medley of Gershwin songs – including “Of Thee I Sing,” “S’Wonderful,” “Embraceable You,” “Our Love Is Here To Stay” and “Someone To Watch Over Me.”

The rest of the program was a banquet of musical goodies. Since it was May 11, Irving Berlin’s birthday, Feinstein did a marvelously hard-swinging “Alexander’s Ragtime Band.” On “Hello, Dolly” he offered a loving simulation of Louis Armstrong’s gravelly voice, recalling one of the song’s most unique interpretations. On “Fly Me To The Moon,” he referred to the desire of Bart Howard, the songwriter, to hear it in his original conception of it as a waltz, rather than the rhythmically upbeat version by Frank Sinatra. And Feinstein, with the aid of guitarist Jim Fox, found the deep, lyrical center of the tune. He chose to cast “The Way You Look Tonight” as a bossa nova, and recalled Sammy Davis, Jr. with an atmospheric rendering of “What Kind of Fool Am I?”

There was much more. Songs such as “Shall We Dance” (sung with the verse), “Put On A Happy Face,” “Just One Of Those Things” and “At Long Last Love,” among others.  All of it brilliantly arranged by pianist/music director Sam Kriger.

It was, in other words, a delightful musical evening on all counts. And it was topped off with the additional good news that Feinstein will be spending more performance time in the Southland in coming months. He has been appointed Principal Pops Conductor of the Pasadena POPS, replacing the late Marvin Hamlisch. Feinstein’s first program with the Pops takes place on June 1.

Get your tickets now. Click HERE for information.

Live Jazz: Cat Conner and Gene “Cip” Cipriano at the Out Take Bistro

By Don Heckman

Studio City, CA.  Jazz performances don’t get any more up close and personal than the bi-weekly appearances of Cat Conner and Gene “Cip” Cipriano at the Out Take Bistro in Studio. City.  At their performance on Friday night, singer Conner and saxophonist/clarinetist Cipriano, with the aid of guitarist Jim Fox, were comfortably ensconced in a convenient corner of the venue’s main room, surrounded by clustered tables and enthusiastic listeners positioned virtually within an arm’s reach of the musicians.

The trio made the most of the intimacy, singing and playing with the sort of rich expressiveness one might experience at a living room jam session.  And with less than two weeks until Christmas, Cat and Cip further enhanced the mood of musical intimacy with a program overflowing with holiday songs.

Cat Conner and Gene (“Cip”) Cipriano

Among the highlights: Cat’s fun-loving take on “Merry Christmas, Baby,” her warm reading of “Have Yourself A Merry Little Christmas” and the whimsically instructional behavioral warnings of “Santa Claus Is Coming To Town.”  Add to that Irving Berlin’s classic “White Christmas,” sung with the too-rarely heard, scene-setting verse.

Here, as elsewhere in a pair of generous sets, Cat’s interpretations were rich with musical eloquence.  The sweetness of her sound, combined with her gently swinging rhythmic phrasing, recalled some of the big band girl singers of the ‘40s and ‘50s –  Doris Day, Rosemary Clooney and Dinah Shore among them.  But always done from Cat’s unique creative perspective.

She sang Johnny Mandel’s “Emily” accompanied only by Fox’s fluent guitar lines.  On other tunes – “Caravan” among them – she dueted with the laid back, woody tones of Cip’s persuasive clarinet lines.  The far-ranging program also featured her equally engaging interpretations of a pair of  familiar Johnny Mercer/Henry Mancini items – the film song, “Charade” and the Academy Award winning “Days of Wine and Roses” – as well as an unusual view, with lyrics, of Sonny Rollins’ “St. Thomas.”

Cat Conner, Gene “Cip” Cipriano, Jim Fox and Dick Nash

And there was more, all of it done with Fox’s guitar work providing  superb, on the spot arrangements.  Add to that Cip’s atmospheric counterlines on clarinet and tenor saxophone.  Further enhancing the program, the group was joined – halfway through the set — by trombonist Dick Nash, whose buoyant style was a dynamic addition to the evening’s instrumental versions of tunes such as “Georgia On My Mind” and “Bye Bye Blackbird.”

Call it an appealing way to hear first rate jazz artists in a cozy, appropriately spontaneous setting.  Cip and Cat’s performance schedule calls for appearances at the Out Take Bistro every other Friday night.  And if you can’t wait another two weeks to hear them in action with their gifted musical associates, check out Cat’s debut CD, Cat Tales, which also features the presence of the gifted pianist/producer, the late George Mesterhazy in one of his last performances.

Here, There & Everywhere: Sing! Sing! Sing!

By Don Heckman

Christmas caroling was a regular seasonal activity in my young life.  Growing up in an Eastern Pennsylvania rust belt city, singing carols while slip-sliding our way across icy sidewalks was as necessary to the holiday as going to Mass on Christmas eve.  In a way, it was an equally necessary counter to the darker side of what we’d done on Halloween, when enacting tricks was a lot more common than  asking for treats.

All of which went through my mind last night when Faith and I took our lovely ten year old granddaughter, Maia, to the Victorian Mansion for “Candlelight Carols” by Judy Wolman, Howard Lewis and “Sing! Sing! Sing!”  And one couldn’t have asked for a more delightfully atmospheric setting to join in a holiday music singalong than the elegant wood-paneled room that jazz fans will recall as the former site of the much-missed jazz club, “The Vic.”

At the beginning, Wolman reminded me that she, Lewis and their group of singers had been doing these holiday celebrations for 20 years.  Not only that, of course, but also their continuing programs of participatory jaunts through the rich musical landscape of the Great American Songbook.  (Programs devoted to Irving Berlin, Jerome Kern, Johnny Mercer, Hoagy Carmichael and others are already scheduled for 2012.)

The “Candlelight Carols” program characteristically reached out to embrace the Songbook – with selections from Irving Berlin, Frank Loesser, Rodgers & Hammerstein, etc. — as well as a collection of traditional carols.  And the format was as comfortable and inviting as a holiday evening in a close friend’s living room.

Lewis introduced each number with some fascinating background, often including nuggets of insight into the song, as well as its creators.  Then Wolman — a superb piano accompanist, backed by Chris Conner’s bass, Dick Weller’s drums and some warm melody-making from harmonica player Ron Kalina – led the way into the song.

Maia

The audience, using lyric sheets provided by Wolman, sang along enthusiastically, sometimes even more than that.  And our granddaughter, Maia, not especially familiar with all the standards, nonetheless applied her already burgeoning musicality to every song, singing, smiling, enjoying every minute of this engaging new experience.

And what a collection of songs it was: “It’s Beginning To Look Like Christmas,” “Silver Bells,” “My Favorite Things,” “White Christmas,” “Sleigh Ride,” “Winter Wonderland,” “The Christmas Song,” “What Are You Doing New Year’s Eve?”  As well as “Silent Night,” “We Three Kings,” “The First Noel” and much, much more.

Between the singalong segments, individual singers from the Sing! Sing! Sing! vocal ensemble – Chuck Marso, Anita Royal, Jackie Manfredi and Ruth Davis – soloed.  And songwriter Jim Mann presented a brand new Christmas song, “Cheers! Cheers! Cheers!”

The sidewalks weren’t icy, and there was no snow in the forecast as we left the Victorian.  But the wind was blowing, and, as we walked hand in hand to our car, the words to one of the evening’s songs – with their perfect holiday sentiments — kept coming to mind.

           “The wind is blowing

           But I can weather the storm

            What do I care how much it may storm?

            I’ve got my love to keep me warm.”

Live Jazz: John Pizzarelli and Jessica Molaskey at Disney Hall

By Don Heckman

Who would have thought that Tuesday night’s Disney Hall performance by jazz guitarist and singer John Pizzarelli would wind up in a singalong with the entire audience joining in on “The Twelve Days of Christmas?”

The answer is anyone who’s ever seen Pizzarelli, his trio, and his wife, singer Jessica Molaskey, in action.  Together, they have created some of the jazz world’s most consistently engaging entertainments.  Like Louis Armstrong, Dave Frishberg, Dizzy Gillespie and Mose Allison, among others, they’ve done so in an irresistibly swinging  jazz setting.  As they did on Tuesday.

Their set was especially enlivened by the blending of seemingly dissimilar songs into lyrically pointed combinations.  Not quite medleys, they were more like a contrapuntal tossing back and forth of words and music.  The pairing of Irving Berlin’s “The Best Things Happen When You Dance” and Bobby Troup’s “Nice Girls Don’t Stay For Breakfast,” for example, was a perfect opportunity for Pizzarelli to play the seducing male to Molaskey’s reluctant female.  On another blend, Molaskey accurately noted the co-dependency aspects of the lyrics to “I Want To Be Happy” (“But I can’t be happy, until you’re happy, too”), while Pizzarelli responded casually with “Sometimes I’m Happy.”

And there were other blends, equally pointed in their own ways: Stephen Sondheim’s “Buddy’s Eyes” with Billy Joel’s “Rosalinda”; Joni Mitchell’s “Circle Game” with Antonio Carlos Jobim’s “Aguas de Marco.”

Backed by the solid support of pianist Larry Fuller (whose soloing was one of the evening’s musical highlights), bassist (and brother) Martin Pizzarelli and drummer Tony Tedesco, the vocal excursions were balanced by plenty of opportunities for Pizzarelli’s high flying guitar lines to solo, often in unison with his vocal scatting – notably so on “Sleigh Ride.”  Molaskey, a Broadway star in her own right, applied her warm and supple voice to a touching reading of “I’ll Be Home For Christmas.” and Pizzarelli touched on the real meaning of the holiday with an equally moving “Count Your Blessings.”

But back to “The Twelve Days of Christmas.”  It almost seemed like another of his throwaway lines when Pizzarelli proposed a singalong of the old classic, assigning the melody of one of the days to each of the many individual audience areas.  And there was faltering along the way, especially from some of the smaller sections.  But, unexpectedly, it all came together – with the upper center section offering a near-professional version of “Five golden rings” – and the others responding with, at the very least, plenty of enthusiasm.

As I suggested above, it wasn’t exactly what one expected at a jazz concert.  But it was delightful, nonetheless.  As was the balance of this utterly enjoyable evening. Call it a musical Christmas present from the Pizzarellis – a Christmas present to remember.

Photo courtesy of the Pizzarellis.

Live Jazz: The 54th Monterey Jazz Festival — Sunday

By Michael Katz

Monterey, California.  Sunday at Monterey began with a group of precocious teenagers and ended with an ageless octogenarian, concluding a festival that had highlights from every corner of the musical world.  The Next Generation Jazz Orchestra, MJF’s signature contribution to jazz education, is more than just a group of talented kids gathered from all precincts. Under the leadership of Paul Contos, it has become a first-class band that will challenge your perception of what young players can accomplish.  From their first notes Sunday afternoon at the Arena, it was clear that they had filled the one hole in the Arena’s scheduling: a bona fide large jazz ensemble.

One of the early highlights was a crisp arrangement of Dave Brubeck’s “Here Comes McBride,” an ode to the bassist that kicked off with a round of blues solos, anchored by the band’s own bassist Daryl Johns.  There were terrific soloists in this group, including pianist Chase Morrin, who contributed an award winning composition, “Mumphis,” and trombonist Calvin Barthel, who sat in admirably with the Berkeley Flamenco group Saturday and is headed there on scholarship, as well as trumpeter Tree Palmedo.  Alto saxophonist Patrick Bartley did a stunning turn on Billy Strayhorn’s “Blood Count.” Vocalist Hope Flores wowed the crowd with simmering renditions of “Dancing Cheek To Cheek” and “Gee, Baby, Aren’t I Good to You.”  Then came the alumni. Joshua Redman joined the band for a scintillating chorus on “Softly As In A Morning Sunrise,” surpassing his brilliant performance of the night before. Tenor Donnie McCaslin had a soaring solo as did pianist Bennie Green,  joining the band for Ellington’s “C Jam Blues,” closing the show to a standing ovation from the sun-kissed crowd.

From there I did some skipping around, making sure I didn’t miss my annual dosage of barbecue, cobblers and a cold microbrew. In between I managed to catch the end of an impressive set on the Garden Stage by pianist John Donaldson, featuring alto sax player Shay Salhov.  Walking in on their last two numbers, I wished I’d seen more. And I took in the last portion of a set on the Courtyard Stage with singer/keyboardist Judy Roberts and Greg Fishman on sax, Judy delivering a cool “Senor Blues” and Greg joining for a terrific version of “Four.”

Bruce Forman

The highlight of the mid-afternoon was guitarist Bruce Forman’s Cow Bop, a western tinged quintet that performed with zest and humor. Starting with the tune Sonny Rollins turned into a jazz classic, “I’m An Old Cowhand,” the quintet featured fiddler supreme Phil Salazar, Alex King on bass and Jake Reed on drums. “Pinto Pam” Forman provided western style vocals with pizzazz, adding just the right amount of swing on classics like “Besame Mucho” and Gene Autry’s “Back In The Saddle Again.”  There were some jazz standards like “Slow Boat to China,” where Foreman unloaded his considerable guitar chops, aided by bassist King, and a cha-cha version of “Comes Love.” Stellar western guitarist Rich O’Brien joined the group for Louis Armstrong’s “Sweet Temptation,” bringing the crowd to its feet, trading licks with Forman and Salazar.  There were more fireworks with “El Combanchero,” with Forman mixing in samples from Dizzy’s “Night In Tunisia” and “Bebop.”  Cow Bop finished off the set with their slant on “Get Along Little Doggies,” and the aforementioned “Back In The Saddle.”  The crowd, by this time jammed into every nook and cranny of the Garden Stage, roared their approval.

At 5:30, the Garden Stage crowd was treated to an extended set by emerging tenor sax player Tia Fuller. Fuller, who came out of the Stanford program and tours with pop star Beyonce, was a sight to behold in tight dress and stiletto heels, but she has the chops for straight ahead jazz. I caught about half the set, in which she played mostly songs from her latest recordings. Her band included a terrific young pianist, Shamie Royston.

Benny Green

Once again there was too much going on Sunday to catch everything, but I wasn’t going to miss the Benny Green Trio with Donald Harrison, doing a set of Thelonious Monk’s music at the Night Club. Green’s superb trio consisted of Ben Wolfe on bass and Kenny Washington on drums.  There are so many Monk tunes that it was possible to begin with one the casual listener might be unfamiliar with — the lilting, low-key “Jackie-ing.” Green moved on to the quieter “Reflections,” but the trio really caught fire with one of Monk’s first recorded tunes, “Thelonious.” Green’s dazzling technique on the infectious line was augmented by Wolfe on the bass. Donald Harrison then joined the group, occupying with fiery distinction the sax chair filled in Monk’s time by the likes of John Coltrane and Charlie Rouse. Harrison provided the emphatic melody to “Epistrophy,” with Green deftly adding the counter tempo. They followed with another of Monk’s engaging lines, “Nutty,”  Green and Wolfe reading each other’s minds on piano and bass, while Harrison, seemingly effortlessly, had complete command of his alto.  Lest you take him for granted, Kenny Washington was an exquisite performer, enunciating Monk’s complex rhythms, adding his own measures of dash and accent when called for.

There were too many highlights to mention in this set, but among them were an up tempo version of “52^nd Street Theme,” with Benny providing a knockout piano solo, following Harrison’s insistent introduction of the theme. Compelling bass work by Wolfe ensued, then Washington broke loose with his own solo.  If there is one essential Monk tune it is “Round Midnight.” Harrison introduced it with a lovely run through the opening chords, then Green took over for a sensitive exploration of the familiar theme. There were a couple of more swinging numbers, including “Calling The Blues.” “Bye Ya,” was a natural finale, Benny Green contributing a delightful, bouncy solo, with a sprightly contribution by Harrison. The set concluded with the consistent brilliance of Wolfe and a final flourish by Kenny Washington.

Sonny Rollins

And then there was Sonny.  Taking to the spotlight in a flowing red shirt, bent forward as he roamed the stage, Lear-like, Sonny Rollins closed the festival with a performance that was sui generis.  The unmistakable Rollins intonation is still there.  If it has been stilted somewhat by virtue of his eighty-one years, it was hardly noticeable.  For much of the set this was classic Road Show Sonny, with Rollins establishing a theme, repeating it, embellishing it,  stalking  the stage as he explored every facet of a seemingly simple line.  Backed by his longtime stalwarts Bob Crenshaw on bass and Sammy Figueroa on percussion,  and drummer Kobie Watkins, Rollins had the additional support of world class guitarist Peter Bernstein. Bernstein’s rhythms gave the Caribbean numbers a breezy feel, and he was the main supportive soloist when Rollins needed a breather. The material alternated between ballads and island themes, with Rollins speaking only a few times to the audience. “Nice Lady,” which was included in Road Show Vol 1, was a typically bright Caribbean tune, with Figueroa’s congas and Bernstein’s rhythms pushing it along and Sonny wailing away. There was one new tune, “Professor Paul,” the literary connection unexplained, but the tune had enough quirky intelligence that you could get the picture.

Toward the end of the set, the tone shifted to vintage Rollins, the style he established in the heart of his career.  From the opening cadenza, when you could pick out the notes to Irving Berlin’s “They Say It’s Wonderful,” this was Sonny at his best, exploring the melody of a standard, challenging it with every nuance of his horn’s tonal depth,  moving in and out of the chorus,  placing his own emblem on the song.  It could have been the perfect ending to a show that had already gone well over an hour, but Sonny had much more in reserve. He went back into Caribbean mode and now the entire arena was up on its feet, swaying back and forth.  Sonny carried forth, trading solos with guitarist Bernstein, backed by Figueroa, Watkins and Crenshaw. Fifteen minutes later you got the feeling the audience was exhausted from dancing, but Sonny played on. A gentleman of a certain age standing behind me remarked, “I didn’t have that much energy when I was 21.”

Finally, Sonny put the horn down and addressed the crowd. “We’ll see you next time,” said the man who had had performed at the first Monterey Jazz Festival. “Long live Monterey!”

Amen to that.

To read Michael Katz’s review of Monterey Jazz Festival Friday click HERE.

To read Michael Katz’s review of Monterey Jazz Festival Saturday click HERE.

Live Music: Sue Raney and Alan Broadbent at Vitello’s

By Don Heckman

On Monday night at Vitello’s, Sue Raney gave an unofficial seminar in the art of song. A seminar, that is, that illustrated by example, not by textbooks. And the key word was “art.” Because Raney’s remarkable vocal skills were completely at the service of her creatively illuminating interpretations of material from the Great American Songbook — and beyond.

Sue Raney

The performance began impressively with a stunning solo rendering of Irving Berlin’s “How Deep Is the Ocean” by pianist Alan Broadbent, who would provide the sole accompaniment for Raney’s set. Long term musical companions, the near-symbiotic presence of Broadbent’s extraordinary support was immediately established as the launching pad for Raney’s soaring interpretations.

Her first song was the Burke/Van Heusen classic (most famously sung by Bing Crosby), “Aren’t You Glad You’re You.” Done with buoyant, whimsical charm, it immediately defined one of the many aspects of Raney’s story telling skills. A tender version of Dave Frishberg’s “Listen Here,” followed by a jaunty romp through Burnett & Norton’s pre-WW I “Melancholy Baby,” further revealed the breadth of her vocal art.

As did similarly insightful readings of Sherwin & Maschwitz’s “A Nightingale Sang in Berkley Square,” Rodgers & Hart’s “He Was Too Good To Me,” Warren & Gordon’s “You’ll Never Know” and David Raksin’s atmospheric theme from “The Bad and the Beautiful.”

Alan Broadbent

The set hit its peak with stunning anthems to Spring — including Rodgers & Hammerstein’s “It Might As Well Be Spring” and Michel Legrand and the Bergmans’ “You Must Believe In Spring.” In the closing vamps, Raney light-heartedly tossed in quotes from other songs about Spring. And, more subtly, Broadbent slyly used the opening phrase from Clifford Brown’s “Joy Spring” as an introduction.

What Raney brought to all this memorable material was a stunning mix of craft and dramatic imagination, engagingly expressed via her warm-toned, far ranging voice — all of it combined in a perfectly balanced, utterly compatible musical blend.

I’m not sure how many singers were in the overflow crowd, but I know there were a few. And I’m willing to wager that they came away from Raney’s casual but mesmerizing seminar with some vital ideas about the enhancement of their own vocal art.

Live Jazz: Toots Thielemans at the Kennedy Center

By Norton Wright

Last Saturday night, I had one of those once-in-a-lifetime jazz experiences at the Kennedy Center’s small Terrace Theater as 89-year-old Toots Thielemans, supported by Kenny Werner’s arm, walked gingerly onstage, ensconced himself onto a stool, and then just blew everybody away. Amazingly, his harmonica embouchure is as strong as ever and with Kenny Werner’s sympathische piano, they gave us an hour of heartbreakingly beautiful jazz.

Toots Thielemans

I’ve been listening to Toots for over a half century but had never heard him in person, so to encounter this icon so late in life was immensely moving. As with so many of those recordings with Stephane Grappelli, the sound of Toot’s harmonica always evokes for me that brave melancholy of times gone by – the Lost Generation of post-World War I, the 1938 Spanish Civil War, World War II and “we’ll always have Paris” from “Casablanca.”

The extraordinary highlight of the evening was Toot’s regaling with the tale of his Green Card arrival in America from Belgium to temp with the Benny Goodman Band, his finally winning U.S. citizenship, and his ongoing love for America.  And then, to crown the story musically, he said he wanted to play a tune by Irving Berlin – with a touch of  Milton Nascimento. And Toots then launched into a bossa nova blues take on “America The Beautiful.”

By the end of the number, there wasn’t a dry eye in the house. The guy behind us was sobbing, Suzie and I were likewise teared up, and the ensuing standing ovation for Toots and Kenny was so well deserved!

Ain’t jazz great!

Picks of the Week: Jan. 25 – 31

By Don Heckman

Los Angeles

- Jan. 25. (Tues.) John Pisano Guitar Night features the always compelling playing of Anthony Wilson in the downstairs lounge.  Upstairs, the jazz voices take over, with the Peter Eldridge Group and Dollison & Marsh’s Vertical Voices.  Grammy nominated pianist Geoff Keezer provides his usual scintillating accompaniment.  Vitello’s.   (818) 769-0905.

- Jan. 25. (Tues.)  Itzhak Perlman in Recital. The masterful veteran violinist is accompanied by pianist Rohan de Silva in a program of music by Leclair, Saint-Saens and Beethoven.  Disney Hall. (323) 850-2000.

Hair

- Jan. 25 – Feb. 6.  (Tues. – Sat.(6)).  “Hair” The definitive musical theatre work of the counter-culture sixties, filled with memorable songs, from “Aquarius” and “Easy to Be Hard” to “Frank Mills” and “Good Morning Starshine.”  Segerstrom Concert Hall.  OCPAC.   (714) 556-2787.

- Jan. 27. (Thurs.)  Jorge Drexler.  Oscar-winning (for “Al Otro Lado del Rio” in The Motorcycle Diaries) Uruguayan singer/songwriter Drexler makes his first L.A. appearance since his sold out concert at Disney Hall three years ago.  Skirball.   (310) 440-4500.

- Jan. 27. (Thurs.)  The Frank Marocco Quartet.  Accordionist Marocco affirms, in every performance, the tonal warmth, harmonic richness and articulate swing that he can generate from his too often maligned instrument.Vibrato Grill Jazz…etc.   (310) 474-9400.

- Jan. 27. (Thurs.) Luther Hughes & the Cannonball Coltrane Project. Bassist Hughes and his companions revive the music from one of great jazz classic albums.  LAX Jazz Club at the Crown Plaza LAX.  (310) 258-1333.

Julie Kelly

- Jan. 28. (Fri.)  Julie Kelly with the John Heard Trio. Kelly singing is one of the Southland’s vocal jazz blessings, whether she’s tip-toeing through bossa nova or applying her rich sound to an intimate ballad. Charlie O’s. (818) 994-3058.

- Jan. 28. (Fri.) Ernie Watts. Everyone’s a-list, number one saxophonist, Watts delivers on all counts – tone, imagination, drive and the utter uniqueness that all great jazz players possess.  Steamers (714) 871-8800.

- Jan. 28. (Fri.)  Ron Stout. Bearded Ron Stout, whose easy transitions from jazz soloing to adept section playing have made him one of the Southland’s most in-demand trumpeters, shows up for an infrequent appearance in the spotlight.  He’ll be backed by the sterling trio of pianist Tom Ranier, bassist Pat Senatore and drummer Kevin Kanner.     Vibrato Grill Jazz…etc.   (310) 474-9400.

- Jan. 28 – 30.  (Fri. – Sun.)  “A Chorus Line.” Winner of nine Tony awards and a Pulitzer Prize, A Chorus Line, with its memorable music and stellar dancing, is one of the great musical theatre pieces.  If you haven’t seen it yet, don’t miss this rare opportunity.    Cerritos Center for the Performing Arts.  (562) 916-8501.

- Jan. 28 – 30. (Fri. – Sun.)  Robben Ford/Roger Kellaway Band.  Guitarist Ford and pianist Kellaway, each a unique and very different jazz stylist, get together for what should be a fascinating musical encounter.  Vocalist Anne Kerry Ford adds her richly personal way with a song.  Catalina Bar & Grill.  (323) 466-2210.

- Jan. 29. (Sat.) Karsh Kale & MIDIval Punditz.  Indian music goes strikingly contemporary with the electronic fusion of tabla artist Kale.  He’ll be joined by his frequent collaborators MIDIval Punditz, guitarist Chris Buono, ghazal master Vishal Vaid and electric violinist Dorian Cheah.  Royce Hall.  (310) 825-4401.

- Jan. 29. (Sat.)  Alan Paul. Manhattan Transfer’s Paul takes a break from his ensemble responsibilities for a solo turn.  He follows his partners Janis Siegel and Cheryl Bentyne onto the stage at Vitello’s.  (818) 769-0905.

Ed Shaughnessy

- Jan. 30. (Sun.)  Ed Shaughnessy Quintet. Veteran drummer has demonstrated his versatility with everything from avant-garde jazz to a long stint in the Tonight Show band.  This time out he applies his two bass drum percussion magic to his own quintet. The inimitable Bubba Jackson Hosts.  KJAZZ Sunday Champagne Brunch.  The Twist Restaurant in the Renaissance Hollywood \Hotel.  (562) 985-2999.

- Jan. 30. (Sun.)  Los Angeles Master Chorale: London Bridges.  L.A.’s always adventurous voices reach into the deep, centuries old English choral music tradition.  They’ll sing works by William Byrd, John Tavener, Benjamin Britten and more.  Disney Hall.  (323) 850-2000.

- Jan. 30. (Sun.)  Mozart Classical Orchestra.  A Happy Birthday tribute to the MCO’s namesake.  Ami Porat conducts the Mozart Symphony No. 36 (“Linz”), Il Re Pastore Overture and the Violin Concerto No. 4. (with violinist Roberto Cani).    Irvine Barclay.

- Jan. 30. (Sun.)  Sing! Sing! Sing! “Let’s Face the Music of Irving Berlin.  Judy Wolman leads an all-join-in celebration of the extraordinarily rich Berlin musical catalog.  Sing! Sing! Sing!.  Keyboard Concepts.

Bill Holman

- Jan. 31. (Mon.)  The Bill Holman Big Band. Holman’s arranging and composing have stamped him as one of the true poets of big band jazz.  His too rare appearances leading his own group are as fascinating to the musicians who play his charts as they are to the audiences fortunate enough to hear them.  Don’t miss this one. Vitello’s. (818) 769-0905.

San Francisco

- Jan. 27 & 28. (Thurs. & Fri.)  Bobby Hutcherson celebrates his 70^th anniversary with his quartet and the unique sounds of special guest Anthony Wilson on guitar.  Yoshi’s Oakland.  (510) 238-9200.

- Jan. 29. (Sat.) Lizz Wright. The singing of Wright is deeply rooted in gospel, and she moves freely across blues and rock, as well, adding spice and substance drawn from her affection for, and skill with jazz.  Yoshi’s Oakland.

(510) 238-9200.

New York

Randy Weston

- Jan. 25 – 30 (Tues. – Sun.)  Jacky Terrasson Trio.  French pianist Terrasson applies his crisply swinging style in a trio setting with bassist Ben Williams and drummer Jamire Williams.  Village Vanguard.  (212) 255-4037.

- Jan. 25 – 30. (Tues. – Sun.) Randy Weston and African Rhythms.  At eighty four, pianist/composer Weston continues to explore (and discover) the rich connections between jazz and it African roots.  He’s accompanied by bassist Alex Blake, percussionist Neil Clarke, drummer Lewis Nash, (Tues. – Fri.) and saxophonist Billy Harper (Sat. & Sun).   Dizzy’s Club Coca Cola.  (212) 258-9800.

- Jan. 25 – 29. (Tues. – Sat.) “Hub Art: The Music of Freddie Hubbard.” The late, great trumpeters music is performed in authentic fashion by Nicholas Payton, trumpet, Javon Jackson, tenor saxophone, George Cables, piano, Dwayne Burno, bass and Lenny White, drums.  Birdland.   (212) 581-3080.

- Jan. 27 – 30. (Thurs. – Sun.)  Tony Williams Lifetime Tribute.  Jack Bruce, bass and vocals, Vernon Reid, guitar, John Medeski, keyboards/organ and Cindy Blackman, drums get together once again to revive the extraordinary fusion sounds of the Lifetime.  The Blue Note.  (212) 475-8592.

- Jan. 28. (Fri.)  “Girls Gone Mild” With Rebecca Martin, Gretchen Parlato and Becca Stevens.  Three gifted jazz canaries introduce their new trio.  Backed by Chris Tordini and Larry Grenadier on basses, with Martin and Stevens playing guitar, ukulele, etc. and Parlato doubling on percussion, they’re explore everything from standards and originals to brand new material. Cornelia St. Café.  (212) 989-9319.

Randy Weston photo by Tony Gieske.

Quotation of the Week: James Brown

“I’ve outdone anyone you can name — Mozart, Beethoven, Bach, Strauss.  Irving Berlin, he wrote 1,001 tunes.  I wrote 5,500.

James Brown

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