By Don Heckman
Alpert and Hall, in particular, offered a musically rich, rhythmically energetic program of material ranging across jazz classics and American Songbook standards spiced with the music of Brazil.
Although he may be best known for the establishment of the Tijuana Brass in the sixties, and for shaping it into one of the most successful groups in pop music history, Alpert has always been a determinedly jazz-focused trumpet player, as well. And his performance at the Bowl offered an impressive recollection of the depth of his skills as a jazz artist. Add to that his similarly gifted talents as a visual artist, which were on display in the form of a large Alpert painting as a backdrop.
I’ve heard Alpert many times, playing impressively in many settings over the past decades. But this time out, his opening set was a performance to remember. Standing alongside his wife, singer Lani Hall — backed by pianist/keyboardist Bill Cantos, bassist Hussain Jiffry and drummer Michael Shapiro – he played with the cool, musically imaginative aspects that have always been at the heart of who he is as a jazz improviser. And he revealed the impressive extent of those aspects, no matter what he was playing – in songs reaching from the Tijuana Brass memories of “A Taste of Honey” to such far-ranging song classics as “Besame Mucho,” “Moondance,” “Lets Face the Music and Dance” and “La Vie En Rose.”
The always captivating musical presence of Hall added another convincing jazz element to the set. The lush timbres of her voice, combined with a brisk sense of rhythm, have always been a vital part of her style, reaching back to the early ’70s. But in recent years, Hall has become an even better musical story-teller, finding the heart of a song in all her expressively intimate performances. And, in this concert, she did so in deeply musical, lyrically compelling readings of songs such as “Fly Me To The Moon,” “Let’s Face the Music and Dance” and “I’ve Got You Under My Skin.” The latter tune, in particular was interpreted by Hall with a uniquely personal rendering that reached far more deeply into the song than the jaunty, often-imitated Sinatra version.
Alpert and Hall were extremely well served by the presence of Cantos, Jiffry and Shapiro. Each is an impressive player in his own right. But they also added a collective, even symbiotic, coming together to find an utterly memorable approach to each of the songs in their program.
Less can be said for the Mendes part of the evening. Performing with an ensemble of singers and instrumentalists comparable to his Brazil 66 (etc.) ensembles, he devoted most of his set to such familiar items as “Waters of March,” Agua De Beber” and “The Look of Love.”
The Brazil 66 sound and style of the ‘60s had its appealing qualities – qualities that underscored the band’s many pop music successes. But in an apparent effort to reach out to a broader listener demographic, Mendes added a rapper to several tunes. And the results largely obliterated the most appealing aspects of the Brazil 66 memories.
Fortunately, Alpert, Hall and their fine accompanists had already brought jazz authenticity to the Bowl’s 2013 schedule in their opening set. Hopefully, their world class program will represent the start of an equally memorable summer at the Hollywood Bowl for Southland jazz fans.
* * * * * * * *
Photos by Faith Frenz