Live Music: The Lado B Project at Vitello’s

By Don Heckman

Studio City, CA.  Brazilian music nights are not uncommon in Los Angeles.  Not with the city’s substantial population of world class Brazilian players – along with the American musicians who have developed considerable competence with Brazilian music over the years.

The Lado B Project is a combination of both, blending a collection of players who brought a full palette of musical perspectives to a compelling musical evening.  Their performance at Vitello’s on Wednesday night was a magical display, underscoring the rich, panoramic qualities of Brazilian music.

Catina DeLuna

It could only have been done this way by some of L.A.’s most versatile musical artists.

Start with Brazilian-born singer/pianist/composer Catina DeLuna, whose many diverse activities include the founding in Sao Paulo of Serenata Braxileira, which specialized in classic Brazilian songs from the ‘20s and ‘30s.  Singing solo, playing hand percussion, occasionally moving to the piano to accompany herself, she was the central focus for most of the songs.

Otmaro Ruiz

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Add the eclectic Venezuelan pianist/accordionist/arranger Otmaro Ruiz, whose resume, overflowing with credits reaching from Herb Alpert and John McLaughlin to  Arturo Sandoval and John McLaughlin, underscores his remarkable, genre-crossing skills. In addition to his solid piano accompaniment, he brought some atmospheric accordion playing to a few of the selections.

The guitar is an essential element in Brazilian music, and one couldn’t have asked for a more skilled player than guitarist Larry Koons, who is at the top of the list for virtually all music contractors, largely because he brings so much musicality to whatever genre of music he plays.  On this night, he used acoustic guitar, roving freely across the many Brazilian rhythms filling the evening’s program.

Larry Koonse and Catina DeLuna

The rhythm team added their own appealing qualities. Aaron Serfaty was a first call drummer in his native Venezuela before he moved to Los Angeles.  And bassist Edwin Livingston, also with an impressive resume, lists the Marsalis brothers, David “Fathead” Newman, Natalie Cole and Stanley Jordan among his many associations.

Directed by DeLuna’s informative musical guidance, with Ruiz’s arrangements, Koonse’ authentic guitar work, and the propulsive rhythms of Serfaty and Livingston, the music came vividly to life.  Much of it, reaching back to songs of the ‘20s and ‘30s, was unfamiliar to American audiences.  But there was no denying its appeal – or, for that matter, the appeal of more easily identifiable songs from Antonio Carlos Jobim, among others.

The only thing missing was some background on the earlier musical selections.  Printed programs are rarely present in night club performances.  But a list of song titles, composers’ names and genre descriptions of the selections from the pre-WWII years would have further enhanced this otherwise fascinating evening.

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Photos by Faith Frenz.

Picks of the Week: May 14 – 19

By Don Heckman

Los Angeles

Brenna Whitaker

- May 15. (Wed.)  Brenna Whitaker.  She could have been a ‘30s platinum blond star.  But Whitaker doesn’t just look good; she can sing, too.  This time out she picks a set of tunes to enhance the birthday of Vibrato co-owner Eden Alpert.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- May 15. (Wed.)  Lado B Project.  A lively evening of Brazilian music, featuring Otmaro Ruiz, piano, Larry Koonse, guitar, Edwin Livingston, bass, Aaron Serfaty, drums and Catina DeLuna, voice.  Brazilian music.  Vitello’s.    (818) 769-0905.

- May 16. (Thurs.)  Lisa Hilton. The ever adventurous pianist/composer Hilton continues her quest for new musical territories for her to explore. Catalina Bar & Grill.   (323) 466-2210.

- May 16. (Thurs.)  John Proulx.  Singer/pianist Proulx has begun to claim a position in the rare category of male jazz singer.  Proulx, like his musical role model, Chet Baker, brings the flowing phrases of his instrumental playing to his vocal interpretations.    H.O.M.E. (House of Music and Entertainment)   (310) 271-4663.

- May 17. (Fri.)  Jim Snidero Group.  Saxophonist Snidero’s lengthy resume reaches from his own numerous recordings to performances with everyone from Frank Sinatra to Frank Wess. The Blue Whale.    (213) 620-0908.

Melissa Manchester

- May 17 – 19. (Fri. – Sun.)  Melissa Manchester. She’s been producing memorable music since the ‘70s, including “Midnight Blue” and “Don’t Cry Out Loud.”  Here’s a chance to catch her in one of her rare club appearances. Catalina Bar & Grill.   (323) 466-2210.

- May 17 – 19. (Fri. – Sun.)  Larry Goldings, Peter Bernstein and Bill Stewart.  This is a stellar organ trio if ever there was one.  Each of the players is an influence in his own right.  Don’t miss them.  Vitello’s.    (818) 769-0905.

- May 17 – 19, 23 & 25. (Fri. – Sun., Thurs., Sat.)  Mozart/Da Ponte Trilogy.  The Marriage of Figaro. The second of the Los Angeles Philharmonic’s three year trilogy of opera by Mozart and librettist Lorenzo Da Ponte.  The great comic opera is performed in a concert staged version by the Philharmonic, the Los Angeles Master Chorale and soloists.  Disney Hall.  http://www.laphil.com  (323) 850-2000.

- May 19. (Sun.)  Los Angeles Chamber Orchestra.  Concerto Finale.  The LACO players offer a fascinating evening of concertos, including Shostakovich’s Cello Concerto, and an offbeat bassoon concerto performed with a 1927 silent film.  Add the Beethoven Coriolan Overture and anticipate an engaging program.   CAP UCLA at Royce Hall.   (310) 825-4321.

- May 19. (Sun.)  Deborah Voigt.  Critically acknowledged as one of the classical music world’s dramatic sopranos, Voigt – who roves freely from Wagner to Puccini – offers an intimate recital of works by Strauss, Tchaikovsky, Bernstein and more.  Valley Performing Arts Center.  (818) 677-8800.

San Francisco

Bela Fleck

- May 16 – 19 (Thurs. – Sun.)  Bela Fleck solo.  Banjo master Fleck has performed in every imaginable setting.  But he is especially compelling musically when he plays in the creative intimacy of a solo performance.  SFJAZZ Center Miner Auditorium.    (866) 920-5299.

Seattle

- May 14 & 15. (Tues. & Wed.)  John Hammond.  Praised by the likes of Tom Waits and T-Bone Burnett, Grammy-winning guitarist/singer/harmonica player Hammond keeps the blues alive in everything he plays.  Jazz Alley.    (206) 441-9729.

New York City

- May 14 – 18. (Tues. – Sat.)  Bossabrasil.  Featuring Dori Caymmi with special guest, Joyce.  Rio comes to Manhattan in the form of a pair of Brazil’s most versatile and gifted musical artists.  Birdland.    (212) 581-3080.

- May 14 – 19. (Tues. – Sun.)  The Gil Evans Project.  Directed by Ryan Truesdell.  An amazing week of music, featuring a large ensemble exploring the full range of Gil Evans’ extraordinary talents.  The selections for each night include Gil Evans’ music for the Claude Thornhill Orchestra, “Out of the Cool,” “New Bottle, Old Wine,” “Great Jazz Standards,” “The Individualism of Gil Evans,” “Miles Ahead,” “Porgy and Bess,” Check with the club for scheduling.  The Jazz Standard.    (212) 576-2232.

London

Roy Haynes

- May 15 & 16. (Wed. & Thurs.)  The Roy Haynes Fountain of Youth Band. The Fountain of Youth has had the biggest impact upon the leader, drummer and role model in this band.  At 88, Haynes is still playing with the imagination and energy of youth.  Ronnie Scott’s.   +44 20 7439 0747.

Berlin

- May 17 & 18.  (Fri. & Sat.)  Lee Ritenour.  He used to be called “Captain Fingers” in honor of his high-speed dexterity.  But guitarist Ritenour has a more lyrical side as well, often employing octave melody style of his favorite musical model, Wes Montgomery.  A-Trane.    +49 30 3132 ext. 550

Copenhagen

- May 15 & 16. (Wed. & Thurs.)  Mark Whitfield.  Dubbed the “best young guitarist in the business” by the New York Times, Whitfield performs with a trio of prime Danish jazz musicians: Henrik Gunde, piano, Kasper Vadsholt, bass and Rasmus Kihlberg, drums.  Jazzhus Montmartre.   +45 31 72 34 94

Milan

Anat Cohen

- May 18. (Sat.) Anat Cohen.  Clarinetist/saxophonist Cohen is in the forefront of an impressive generation of female jazz instrumentalists.  She’s backed by Jason Lindner, piano, Stefano Bellani, bass and Daniel Freedman, drums.  Blue Note Milano.    +39 02 6901 6888.

Tokyo

- May 14 – 16. (Tues. – Thurs.)  Benny Golson Quartet.  Tenor saxophonist/composer Golson is still, at age 84, a player with a lot of music to express.  Hopefully he’ll also play some of his jazz hits such as “Killer Joe,” “Whisper Not,” “Along Came Betty” and more.  The Blue Note Tokyo.    +81 3-5485-0088.

Picks of the Week: April 24 – 28

By Don Heckman

Los Angeles

Barbara Morrison

- April 24. (Wed.) Barbara Morrison.  A legend in her own right, the versatile Ms. Morrison celebrates the music of the iconic Ella Fitzgerald.  She’ll be backed by pianist Stuart Elster, bassist Pat Senatore and drummer Lee Spath.  Vibrato Grill Jazz…etc.   (310) 474-9400.

-April 24. (Wed.)  Miles Evans Big Band.  Gil Evan’s trumpet-playing son (and Miles Davis namesake) keeps his father’s superb music alive, while taking it into compelling new musical areas.  Catalina Bar & Grill.  (223) 466-2210.

- April 25.  (Thurs.)  Cat’s Birthday Bash. Singer Cat Conner celebrates with an evening of prime jazz.  Her special guests include singer Lee Hartley and woodwind master Gene “Cip” Cipriano, with stellar backing provided by pianist Christian Jacob, bassist Chuck Berghofer and drummer Steve Schaeffer.  Vitello’s.    (818) 769-0905.

- April 25. (Thurs.)  Nutty.  Seven piece Nutty is a one of a kind band, applying their ‘Mashups” style to a blend of “jazz and rock ‘n’ roll, served up with a swinging, old school Vegas swagger.” They perform at L.A.’s elegant new jazz room.  H.O.M.E.  l  (310) 271-4663.

Rita Coolidge

- April 25 – 27. (Thurs. – Sun.)  Rita Coolidge. Grammy-winning singer Coolidge – know as “Delta Lady” after Leon Russell wrote the song for her – is still, at 67, a convincing vocal practitioner in the pop and soft rock genres.   Catalina Bar & Grill.  (223) 466-2210.

- April 26. (Fri.) An Evening with Medeski, Martin & Wood.  M, M & W have been exploring new genre combinations – jazz funk, jazz fusion, avant-jazz, etc. – for two decades.  And they’re still working at the cutting edge.  CAP UCLA at Royce Hall.   (310) 825-2101.

- April 26 – 28. (Fri. – Sun.)  Bringuier and Thibaudet with the Los Angeles Philharmonic.  An evening of French delights.  French conductor Lionel Bringuier and French pianist Jean-Yves Thibaudet perform a program of Ravel and Saint-Saens.  Disney Hall.   (323) 850-2000.

- April 27. (Sat.)  Larry Koonse – Alan Pasqua Duo.  Two of the Southland’s most highly praised players, first call rhythm section experts and superb soloists in their own right, get together in a duo setting.  Vitello’s.    (818) 769-0905.

- April 28. (Sun.)  The Susie Hansen Latin Jazz Band.  She’s a blonde girl from the mid-West who plays violin, but Hansen has been providing some of L.A.’s most authentic and dynamic Latin jazz, salsa and swing for more than two decades.  She’ll be joined by guest vocalist Valerie Petersen. Be prepared to dance in the aisles.  The Huntington Beach Art Center.  www.huntingtonbeachartcenter.org  (714) 536-5258.

San Francisco

Chick Corea

- April 25 – 28. (Thurs. – Sun.)  Chick Corea & the Vigil.  Always in search of newly expressive music, the inimitable Corea performs with his newest band, featuring saxophonist Tim Garland, bassist Hadrien Feraud, guitarist Charles Altura and drummer Marcus Gilmore.  Yoshi’s Oakland.    (510) 238-9200.

New York City

- April 25 – 27. (Thurs. – Sat.) Celebrating Duke Ellington.  Wynton Marsalis and the Jazz at Lincoln Center Orchestra explore their deeply insightful understanding of the classic Ellington musical canon.  Jazz At Lincoln Center’s Rose Theatre.    (212) 258-9595.

Boston

- April 27. (Sat.)  Gato Barbieri. Veteran Argentine saxophonist Barbieri has moved across genres from the free jazz of the ‘60s to his Latin jazz specialties of the ‘70s and beyond. He’ll no doubt play his hit version of his music for the film Last Tango In Paris.    Regatta Bar.   (617) 661-5000.

Milan

Avishai Cohen

- April 28 (Sun.)  Avishai Cohen, Omer Avital and Iago Fernandez Camano. Critically praised Israeli trumpeter Cohen performs in a true international jazz trio with bassist Omer Avital and drummer Iago Fernandez Camano.  Blue Note Milano.    +39 02 6901 6888.

Tokyo

- April 28 & 29. (Sun. & Mon.)  The Toshiko Akiyoshi Jazz Orchestra featuring Lew Tabackin.  Pianist/composer Akiyoshi and her husband, saxophonist Tabackin return to Japan to perform with Akiyoshi’s superb big jazz band. Blue Note Tokyo.   +81 3-5485-0088.

Picks of the Week: Mar. 12 – 17

By Don Heckman

Los Angeles

Wynton Marsalis with the Jazz at Lincoln Center Orchestra

- Mar. 12. (Tues.) Wynton Marsalis and the Jazz at Lincoln Center Orchestra.  Marsalis and his JLCO players continue to bring life to the past, the present and the future of big band jazz.  Disney Hall.   (323) 850-2000.

Mar. 12. (Tues.) Allison Adams Tucker.  “Women in Jazz.”  Jazz singer Tucker performs with a gifted, all-female ensemble – Kait Dunton, piano, Sherry Luchette, bass, Tina Raymond, drums and Lori Bell, flute.  Vibrato Grill Jazz…etc.   (310) 474-9400.

- Mar. 13. (Wed.)  Lou Marini.  New York-based veteran saxophonist Marini makes a rare L.A. appearance backed by a stellar array of players.  Vitello’s.    (818) 769-0905.

Lynda Carter

- Mar. 14. – 16.  (Thurs. – Sat.)  Lynda Carter. She’ll probably always be known as Wonder Woman, but Carter is an appealing singer, as well, with a convincing interpretive style.  Catalina Bar & Grill.  (223) 466-2210.

- Mar. 15 – 17. (Fri. – Sun.)  Ambrose Akinmusire.  Trumpeter Akinmusire has been receiving critical accolades and winning polls lately.  Here’s a great opportunity to hear him in action and make your own evalulation.  Blue Whale.   (213) 620-0908.

- Mar. 16. (Sat.)  Johnny Mandel Big Band. Veteran arranger/composer Mandel showcases selections from his rich collection of classic arrangements and original works for big jazz band. Vitello’s.    (818) 769-0905.

Kenny Rogers

- Mar. 17. (Sun.)  An Evening with Kenny Rogers.  Celebrate St. Patrick’s Day with the music of Grammy-winning, hit-making veteran singer/actor/songwriter Rogers.  Valley Performing Arts Center.    (818) 677-8800.

- Mar. 17. (Sun.)  Carol Robbins, Larry Koonse and Pat Senatore. An all-strings evening of music, featuring the fascinating timbres and jaunty swing of Robbins’ harp, Loonse’s guitar and Senatore’s bass. Vibrato Grill Jazz…etc.   (310) 474-9400.

San Francisco

- Mar. 12 & 13.  (Tues. & Wed.)  “Miles Smiles”  A super-group of Davis alumni, including trumpeter Wallace Roney, organist Joey DeFrancesco, guitarist Larry Coryell, bassist Darryl Jones and drummer Omar Hakim, recall the Miles era.  Yoshi’s Oakland.   (510) 238-9200.

Seattle

Leo Kottke

- Mar. 12 & 13. (Tues. & Wed.)  Leo Kottke. Virtuosic, finger-picking guitarist intersperses his 6- and 7-spring playing with humorous, between-tunes monologues.  Jazz Alley.   (206) 441-9729.

New York City

- Mar. 13 – 17. (Wed. – Sun.)  Brazilian Jazz All-Stars.  Bossa nova and the music of Antonio Carlos Jobim will be authentically performed by an all-star aggregation of Brazilian artists: Duduka Da Fonseca, percussion, Romero Lubambo or Vic Juris, guitar, Claudio Roditi, trumpet, Helio Alves, piano, Maucha Adnet, voice, Hans Glawishnig, bass.  Iridium.   (212) 582-2121.

- Mar. 15 & 16. (Fri. & Sat.)  Charlie Musselwhite.  Blues harmonica player Musselwhite, a veteran of the fertile blues and rock happenings of the ‘60s, is still going strong at 69.  He is alleged to be the model for Dan Aykroyd’s character in The blues Brothers.  Dizzy’s Club Coca-Cola.   (212) 258-9595.

London

- Mar. 14. (Thurs.)  “Birth of the Cool.”  The Richard Shepherd Nonet celebrates the music from Miles Davis’ iconic Birth of the Cool recording, plus classics from Kind of Blue and Milestones.  Ronnie Scott’s.    +44 20 7439 0747.

Milan

Brad Mehldau

- Mar. 15 & 16. (Fri. & Sat.)  Brad Mehldau and Mark Guiliana.  Mehldau steps away from his classically oriented acoustic jazz with Mehliana – an electric funk duet project with drummer Guiliana.  Blue Note Milano.   +39 02 6901 6888

Tokyo

- Mar. 12 & 13. (Tues. & Wed.) Kenny Barron Trio. High on the list of every major jazz artist’s first-call pianists, Barron is also a compelling, musically adventurous player in his own right – especially when he’s working with his trio.  Blue Note Tokyo.    +81 3-5485-0088.

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

By Don Heckman

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

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

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

The Bill Cunliffe Big Band

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

Bill Cunliffe

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

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

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

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

Cat Conner

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

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

Gene Cipriano and John Chiodini

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

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Photos by Faith Frenz.

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.

Live Jazz: the Bob Mintzer and Bill Cunliffe Big Bands

By Don Heckman

Anyone who doubts the excitement, the imagination and the contemporary vitality of big band jazz should have been at Vitello’s last weekend.  Over the course of Friday and Saturday nights, two stellar ensembles – the Bob Mintzer Big Band and the Bill Cunliffe Big Band – offered invigorating reminders of the still-potent pleasures of big band jazz.

Friday night’s program featured the Mintzer band in a program titled “Homage To Count Basie.”  And composer/saxophonist/bandleader Mintzer couldn’t have chosen a better model than the iconic Basie band with which to display his group’s impressive musical wares.

The Bob Mintzer Big Band

Mintzer opened, appropriately, with the Basie theme song, “One O’Clock Jump.”  And the music began to cook from the first opening passages, as the rhythm section – pianist Russell Ferrante, guitarist Larry Koonse, bassist Edwin Livingston and drummer Peter Erskine – dug deeply into the classic Basie groove.

There was more Basie to come, including the familiar strains of “April in Paris,” Neal Hefti’s “Cute,” and “Shiny Stockings.”  Topping it off, Mintzer added some Basie-inspired music of his own, including “Lester Jumps Out” and “Home Basie,” an irresistibly swinging musical blending of Basie’s rhythms and James Brown’s effervescence.

Add to that more originals – “Elegant People” and “Havin’ Some Fun” among them – showcasing Mintzer’s broad, far-reaching skills as a composer/arranger.

Bob Mintzer

Also a hard-driving tenor saxophonist, Mintzer added some substantial soloing of his own.  But his band was also filled with other primo soloists, among them saxophonists Bob Sheppard, Keith Fiddmont, Brian Scanlon and Adam Schroeder, trumpeters John Daversa and Wayne Bergeron, and pianist Ferrante, all playing in a manner that honored the Basie style.

And it was fascinating to observe the excitement coursing through the full house crowd as the sounds of big band jazz at its finest filled the room.

On Saturday night it happened all over gagin, as the Bill Cunliffe ensemble offered a “Big Band Holiday Kick Off.”  Toward that end, however, pianist/composer/bandleader Cunliffe began his set with a quartet – featuring his piano along with guitarist John Chiodini, bassist Tom Warrington and drummer Joe La Barbera – playing a non-stop medley of holiday tunes.  Among them – “Winter Wonderland,” “Silent Night” (featuring seasonally atmospheric soloing from Chiodini) and “Carol of the Bells.”  Cunliffe added a solo piano take on “Christmas Time Is Here,” and singer Dawn Bishop joined the ensemble, singing “The Christmas Song” (and later adding her engaging versions of “Almost Like Being In Love” and “The Devil and the Deep Blue Sea” — not exactly seasonal songs, but appealing, nonetheless).

The Bill Cunliffe Big Band

Cunliffe’s great versatility in big band scoring was also highly visible in the Latin rhythms of “Havana” and an original piece (title unannounced) written for a film about the Celtics.  In it, Cunliffe perfectly captured the driving, big band Swing era style of the late ‘30s.  His version of “Round Midnight,” featuring tenor saxophonist Jeff Elwood, brought traces of Thelonious Monk dissonances into the big band fabric. And there were numerous other fine soloists as well: including trumpeter Bijon Watson, alto saxophonist Bruce Babad and trombonist Alex Isles, among others.

Bill Cunliffe

The closing piece, whimsically titled “The Goldberg Contraption,” was a work based on various J.S. Bach compositions (including the Goldberg Variations).  In it, Cunliffe adroitly positioned rich Bach harmonies and compelling contrapuntal passages within the colorful textures and surging rhythms of big band jazz.

Call it a brilliant, two-night display of the far-ranging possibilities of the big jazz band format, when it’s in the hands of composer/arrangers as gifted as Bob Mintzer and Bill Cunliffe.  Big Band jazz, in their work, is still very much alive.  Ask anyone who was present in the full house crowds.

Bob Mintzer photos by Faith Frenz.

Bill Cunliffe photos by Bob Barry.

Here, There and Everywhere: Halloween Jam with Bob Sheppard and Friends

By Don Heckman

I can never recall trick or treating having much connection with jazz.  So when Vitello’s announced a “Halloween Costume Party and Jam” featuring saxophonist Bob Sheppard with a stellar band, it sounded like the potential for an unusual and entertaining evening.

As it was.  Sheppard’s band included guitarist Larry Koonse, bassist Dave Robaire and drummer Charles Ruggiero.  And the word was out that some sitting in would be taking place, as well.  Add to that the  audience costumes that arrived over the course of the evening, and the atmosphere of communal jazz sharing that made the performance feel like a long musical party among friends.

It’s worth noting, too, that the Halloween costuming, so to speak, wasn’t limited to the colorful members of the audience.  Several times during the evening, Sheppard and Koonse added their own offbeat appearances, proudly wearing the wigs of ‘60s hippydom.

Larry Koonse, Dave Robaire and Bob Sheppard

The opening set featured the front line of Sheppard and Koonse at their best.  Always among the first-call choices on their instruments, both players are best heard in a wide open setting like this one, stretching out on some standards and a jazz classic or two, interacting spontaneously in a relaxed environment.

Whether playing tenor or soprano, Sheppard is always adventurous, applying his considerable technique to the expression of his equally imaginative soloing.  And so, too, is Koonse, whose subtle accompaniment touches produce virtually instantaneous arrangements, countered by his own inventive solo efforts.

Backing Sheppard and Koonse, the rhythm team of Robaire and Ruggiero were flawless, matching a propulsive sense of swing with an equally supportive framework of rhythm and timbre.

Billy Childs

As the evening progressed, other players joined the Halloween Jam.  Among them, there were some especially compelling contributions from the ever-impressive pianists Billy Childs and John Beasley.

Call it a Halloween full of musical treats, without the distraction of a single trick. And credit April Williams, Vitello’s jazz impresario, with yet another imaginative musical evening.  Be sure to check her November Vitello’s calendar for a month-long schedule of equally appealing jazz events.

Photos by Faith Frenz

Live Jazz: The Carol Robbins Sextet Upstairs at Vitello’s

By Don Heckman

Among the many instruments listed in jazz polls as “miscellaneous,” the harp is surely one of the most rare participants. As unlikely an actual jazz voice as it may seem, however, the instrument has been played in strikingly innovative fashion by the likes of Alice Coltrane, Dorothy Ashby, Corky Hale and Betty Glamann (among a very few others).

Carol Robbins

Add Carol Robbins to that list.

A busy L. A. studio player whose resume embraces everything from film, television and recordings to celebrity weddings, she has also gradually positioned herself as an intriguing jazz harpist, composer and band leader. On Sunday night at Vitello’s, all those skills were on full display in a performance celebrating the release of her new CD, Moraga.

Her six piece ensemble was a congregation of state of the art Southland players including – in addition to Robbins – guitarist Larry Koonse, pianist Billy Childs, saxophonist Rob Lockart, bassist Darek Oles and drummer Dan Schnelle. Childs, Koonse and Oles are on the recording. And most of the evening’s generous, two hour program was devoted to selections from Moraga.

Billy Childs and Larry Koonse

Starting the evening with four original works, Robbins introduced the essence of her style, as composer, player and leader. Each piece was articulately conceived, ranging from crisp jazz lines to lush, floating impressionist harmonies.

Darek Oles and Rob Lockart

Soloing was intrinsic to each work. Childs was the principal soloist in the first two, his far reaching dissonances and surging rhythms providing gripping counterpoint to the layered emotions of Robbins’ writing.

Dan Schnelle

For the balance of the program, the close wedding of composition and improvisation was essential to Robbins’ compositional perspective. And with soloists such as Lockart, Koonse and Oles, strongly supported by Schnelle’s propulsive – but never intrusive, drumming – the music unfolded like the mesmerizing chapters of a much loved novel.

Among the high points: The intimate dueting between Koonse (especially on acoustic guitar) and Robbins, the blending textures of their strings and the lyrical interplay of their solo lines on pieces such as “Dolore” and “Mojave.” Robbins’ exquisite rendering of the Cole Porter classic, “Every Time We Say Goodbye,” her instrumental expressions perfectly recalling the poignant lyrics.

Equally remarkable was the way in which she brought Antonio Carlos Jobim’s “Caminhos Cruzados” to life, playing the clustered harmonies of the Joao Gilberto guitar style on her harp. The ease with which she outlined one bebop phrase after another – a seemingly near-impossible task on her large, many-stringed instrument.

Larry Koonse and Carol Robbins

And, perhaps most important of all, the intrinsic blend of rich musicality, inventive soloing and warm creative comradeship that is intrinsic to Robbins’ art.

After hearing her generate an evening of such immensely entertaining music with her harp in the central role, it was hard to imagine anyone ever referring to Carol Robbins’ grand-looking, beautiful-sounding instrument as “miscellaneous.”

All photos by Bonnie Perkinson.