Live Music: The Best Memorial Day Party Ever! Paul McDonald’s Big band at the Typhoon Jazz Restaurant.

May 28, 2015

By Norton Wright

Santa Monica, CA. One of the unique experiences on today’s jazz scene is “Big Band Night” at Typhoon Restaurant at Santa Monica Airport in Los Angeles. On Memorial Day evening listeners are ready to experience a veritable bacchanal as the band on stage is Paul McDonald’s big, powerhouse, 17-piece orchestra.

The band hits at 8 p.m. but you should get to the Typhoon as early as 6p.m., not just for the scenic view of the flight line’s airplanes from the restaurant’s top floor, because it is you who are about to fly. The excitement is palpable – and wow, does it ever grow!

McDonald is already there in the working togs of shorts and a t-shirt setting up the band’s music stands, laying out the charts for each band member, positioning eleven microphones with their maze of cables leading to the sound mixing board of Typhoon’s indefatigable audio engineer, Toro. These two gents have worked together before and move deftly through the all-important sound check under the watchful eye of Typhoon’s owner, Brian Vidor.

Vidor has run this massive, jazz room for twenty-five years, his crowd of regulars is already piling in to the bar and the restaurant’s thirty tables. The conversation level begins to boom! Lots of gleeful greetings, talk of jazz, what’s going to happen tonight? You get the feeling that this jazz ritual has been going on forever. Evocations of Shelley’s Manne-Hole, Donte’s, The Lighthouse, maybe even Toulouse Lautrec’s Bal Taberin. Lautrec always surprised, so like him, what has McDonald got up his sleeve tonight?

7p.m. – one hour to show time, but already the band members are arriving. They’re old friends, gathering early, clearly enjoying one another’s company. Adjusting the lights on their music stands, organizing their charts, unpacking their instruments, their pace leisurely like cool gunslingers again prepping for a night at the O.K. Corral.

7:30 p.m. – Paul McDonald reappears in sartorial splendor, dark suit, necktie, neat handkerchief in his breast pocket. He’s mellow but also keenly attentive to any missed details in readying for the band’s 8pm start. He greets his band members, then moves about the restaurants saying hi to old friends, but he’s regularly checking his wristwatch. This is a genteel producer and showman at work. He sees his band settling into their seats and holds up ten fingers to them. Ten minutes before start time. The crowd is quieting in anticipation. Five fingers to the band, five minutes to go!

Paul McDonald

Paul McDonald

8 p.m. – McDonald at his electric piano counts off the up-tempo beat for the opening number  – and the band explodes into “This Can’t Be Love”! The sax section puts you away, drummer Steve Pemberton drives the band up and over, and the night flight takes off! Paul Young is 200 pounds of roaring trombone solo, Ron Barrows, super casual in a baseball cap, answers with his own sizzling trumpet solo, and you start to remember that all theses musicians are solo stars in their own right.

The Paul McDonald Big Band

The band quickly propels through the applause into the second number, the Cubop standard “Mambo Inn,” and you hear why McDonald has added a second percussionist to the band. MB Gordy’s array of conga drums, bongos, and timbales absolutely crackle with polyrhythmic intensity.

About now you may be thinking that the guys in this band are awesome – but wait till  you hear the band’s two lady musicians. There are all kinds of ways of being beautiful, and Barbara Loronga’s trumpet and Lori Stuntz’ trombone are just outrageously gorgeous! Loronga’s soloing throughout the night (deftly using a mute on some numbers) reminds of Lee Morgan’s blazing yet note-perfect virtuosity – and in the night’s most poignant moment, as the classically-trained trombonist Stuntz is soloing through her beautiful take on West Side Story’s “Tonight, Tonight,” the hushed crowd is so moved that from the back of the room some start to reverently sing the lyrics.

In the audience, Susan Watson, one of the original performers in 1958’s production of West Side Story, is so taken by the by the grace of Stuntz solo that she gets outright weepy!

A word about composer/arranger/pianist/bandleader Paul McDonald’s consummate showmanship and his West Side Story medley that closes the first set. In this first hour, you’ve already been treated to the amazing speed of Gary Herbig’s alto and Dean Roubicek’s tenor on every solo they take. (Eric Morones is in the hunt too, joyously jousting with Roubicek as to who’s the fastest sax in the West). Mike Parlett is at home with the entire array of woodwinds from alto sax to flute, and young Caesar Martinez equally impresses, doubling on baritone sax and clarinet.

So adding some of Leonard Bernstein’s West Side Story score to this hot mix heralds a heart-thumping finale! McDonald kicks it off on electric keyboard with a dazzling solo, Ken Wild switches from acoustic bass to electric bass propelling the band into overdrive. The familiar themes of  “I Want To Be In America,” “Maria,” and “Tonight, Tonight” rise up in McDonald’s arrangement joyfully reminding of Bernstein’s jazz heart, — and in the last bars of this West Side piece Tony Bonsera’s trumpet goes stratospheric! What a way to end the first set!

Now what can McDonald do to top this in the upcoming second set? And he’s got the additional challenge that during the intermission the packed crowd is now roaring in conversation. But if Leonard Bernstein was a good choice to end the first set, how about another American musical icon, Aaron Copeland, to start the second set?

And so it is that without any introduction, the band just blasts off the second set with the opening of Aaron Copeland’s Fanfare for the Common Man, the four-person trombone section (Young, Stuntz, Duane Benjamin, and Robbie Hioki) sounding the profound gravitas of the fanfare as the trumpet section soars atop, all in a display of brass firepower so awesome that it immediately quiets the reveling crowd. McDonald moves the number into a jazz groove with a keyboard solo evidencing what an exceptionally intense, soloing artist he is, and again MB Gordy’s congas – and tambourine! –  add wicked, hard-throbbing grooves to the fanfare. It all would have made Aaron Copeland kvel!

Next, the night would be incomplete without a blues number, and McDonald gets into it at the keyboard with his own composition, “Forget About The Past,” so down that it poses the question, “Why do the blues make listeners so happy?

The crowd has been waiting for Steve Pemberton’s drum solo and he does not disappoint, starting with brushes on snare and cymbals, then letting that soft touch escalate into dynamite drumstick work and kicking off the tune “Seven Steps” with trumpeter Jeff Jarvis burning the joint down with his fast and fiery solo.

So is there another surprise that showman McDonald can call forth in this last set to top off the evening? Yes, and she arrives in the person of the lissome songstress, Marianne Lewis. If you’re not acquainted with Lewis you may wonder how she is going to fare in a big-band context given that her website credits include her choir directing, leading of spiritual, consciousness-raising, empowerment groups, and listing CD’s of her own song compositions sung with gentle jazziness. You may be expecting Mother Teresa — but you are blissed out when Lewis arrives on the bandstand in a sexy, slinky, black-lace evening dress! With three background singers, Jacquelyn A. Brown, Ramon Pratt, and Valerie Chevanaugh Fruge – she launches into “Let the Good Times Roll,” “Something’s Gotta Give” and a jazzy, funky take on Earth Wind & Fire’s “In The Stone.” Clearly Lewis is bringing it tonight, and you’re in for a very good time.

Later after a quick costume change into a short white lace dress, she spots heartthrob singer, Dave Davis, in the audience and gets him to join her on stage for an impromptu and flirtatious duet on “Do Nothing ‘Till You Hear From Me.” During the song, Davis fixes on Lewis’s come-hither dance moves and short dress as if hoping for a wardrobe malfunction. Clearly this wolf is appreciating the swan in more ways than one, and the crowd just loves them.

As the evening heads for the finish line, the band and Lewis run through “Stormy Weather,” “Is You Is Or Is You Ain’t My Baby,” Sergio Mendes’ “Mas Que Nada” – and by the time the band hits its  arrangement of Tower of Power’s  song, “A Little Knowledge Is A Dangerous Thing,” everyone in the crowd is up and DANCING!

It’s an exuberant finale — and what a memorable way to end a Memorial Day weekend!

P.S. The Paul McDonald Big Band is such a celebration of jazz music , soloing stars, and genuine surprises that this orchestra merits bookings at the likes of the Playboy Jazz Festival, the KJAZZ Radio Summer Benefit Concert, and other major jazz venues.

And L. A.’s Chamber of Commerce, City Council, and Mayor Eric Garcetti should be proud to have the legendary Typhoon Restaurant as “Big-Band Central” in Los Angeles. In just the last month this attractive and spacious location has hosted the jazz orchestras of Emil Richards, Clare Fischer (directed by Brent Fischer), Steve Spiegel, Mark Hix, Tim Davies, Mike Price, and Charles Owens.

For anyone coming to visit our city, of course Disney Philharmonic Hall, the fountains of the California Center, the New Getty Museum, and the like are must-sees.  But no visit to Los Angeles is complete without catching Big- Band Night at Brian Vidor’s Typhoon Restaurant so aptly located at Santa Monica Airport where the great American art form, jazz, proudly takes flight every week.

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To read more posts by and about Norton Wright click HERE.


Dance at the Music Center Presents: Tania Pérez-Salas’s “Ex-Stasis” and “Made in Mexico” at the Ahmanson Theatre in Los Angeles

May 17, 2015

By Jane Rosenberg

In the magnetic opening sequence of Tania Pérez-Salas’s Ex-Stasis, a lone woman stands in a spotlight, long hair shrouding her face. Music erupts and, as a scattering of dancers recline on the stage, watching her intently, she begins her solitary dance. At first her movements appear to be simple rifts on Sixties’ rock or Seventies’ disco. Momentum builds: her arms flap, her head whips, her hair flies, and her torso shudders. Throbbing with intensity, she merges with the pulsing music, becoming a Maenad in a Dionysian revel. Does she express joy, rage, animal desire, or all three at once? It’s a breathtaking foray into raw emotion – a precisely choreographed, yet uninhibited exploration.

If only the choreography continued at this level of investigation – then the ecstasy of Ex-Stasis could have opened our minds and bodies to the rewards and perils of letting go. As it progressed, however, clichés mounted; and the ultimate experience was dampened by a loss of focus owing, in part, to curtains of thin, plastic sheeting used to mostly distracting effect.

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“Ex-Stasis”

 

In one effective sequence, however, the plastic sheeting works as a poetic device. Three female dancers, topless and wearing nude colored briefs, stand at evenly spaced intervals behind the wall of translucent plastic. They press various body parts against the material; they push, claw, and tug at it, turning their bodies this way and that. References abound: fetuses in the womb, hatching larvae, sci-fi creations in the laboratory. The plastic, however, continues to be used scene after scene, and its overuse overwhelms the choreography, which becomes merely a push/pull with the sheets.

When finally an ensemble takes the stage and we have an opportunity to see what the troupe can do, for no discernible reason the dancing occurs behind yet another wall of plastic, obscuring our engagement with the dancers. Even when at rest and hanging in the background, the sheeting distracts us from the dancers. This is partially the fault of the lighting design, which flattens and obfuscates the dancers rather than creating sculptural, solid, and vivid forms.

Tania Pérez-Salas, born in Mexico City, founded her company in 1994. Though they have traveled to dance festivals worldwide, this is their first time in Los Angeles. For their short run at the Ahmanson Theatre, they are performing both Ex-Stasis, choreographed in 2010 and Made in Mexico (Macho Man) from 2014. Though both dances date from the present century they have the feel of decades gone by.

The dance vocabulary used by Pérez-Salas could be a catalogue of popular dance moves from the nineteen seventies: undulating torsos, rocking pelvises, arms held overhead and spun, and the bouncing bodies of boy bands from the sixties. She also favors collapsing bodies onto the floor, all too ubiquitous in contemporary choreography. One might call it Pop Art in dance, but given her statements about channeling emotion and instinct, this seems too intellectual a slant for her perspective on movement.

Made in Mexico suffers most from its references to the past. In her statement of intent she seeks to “illustrate male and female gender roles in contemporary Mexican society as perceived through the culture’s strong emphasis on masculinity…” – a relevant and commendable objective to be sure, but one that suffers from an over reliance on clichés and stereotypes.

Riding a bucking bull or horse, fingers pointing like guns, male strutting and posing, are all movements that conspire to undermine any subtlety Pérez-Salas achieves in the more nuanced segments. What does compel is the coupling of male and female partners in their dominant/submissive entanglements. Office chairs, rolled across the stage, are used to often surprising effect, as they become a third partner in the dance.

Unfortunately, two women, dressed in disco black, dance in a scene that, for me, derails the piece. They strut in high heels and shiny leggings – the image of punk party girls. Reveling in their powerful femaleness, they mouth the words to “Complejo de Amor,” but the impact is lost, made comical by the reference to karaoke. For sheer power and a statement on female gender roles, nothing beats Angelin Preljocaj’s chorus line of women in his ravishing, Les Nuits, as they move from super-model posturings to gestures of domination and anger.

Pérez-Salas walks a tightrope in Ex-Stasis and Made in Mexico. She’s caught between her desire to make commentary on male and female stereotypes and the dangers of allowing her dances to fall into those stereotypes. Perhaps one of the two pieces paired with her 1998 work, Waters of Forgetfulness, or The Hours, inspired by Michael Cunningham’s novel, would have been a more diversified introduction to her work from a choreographic, musical, and visual standpoint.

At its best, her vision offers us a theatrical, entertaining, and sensual experience provided by a troupe of committed dancers who manage to carve out their individual personas in these two works. In the future, one hopes that we, in Los Angeles, will see more subtle explorations from this choreographer who clearly has a passion for dance.

Dancers:
Jairo Cruz, Nicole Erickson, Veronique Giasson, Sabra Johnson, Eduard Martínez, Sarah Matry-Guerre, Marcus McCray, Jose Roberto Solís, Diana Sorokova, Po-Lin Tung, Myrthe Weehuizen

Production Ex-Stasis:
Choreography: Tania Pérez-Salas
Music: Meredith Monk, Monolake, Pan Sonic, Chris Isaak, Gustavo Cerati y Digitalverein
Scenography: Juan Alberto Orozco
Lighting design: Xóchitl González Quintanilla
Costume design: Sara Salomon, Miguel Garabenta
Music editing: Tono MX, Claudio Pezzoti y Federico Quintana

Production: Made in Mexico (Macho Man)
Choreography: Tania Pérez-Salas
Music: Nortec Collective, Tropa Vallenata, Todos Tus Muertos, Panóptica Orchestra, Rojo Córdova & Cuarteto Latinoamericano, Javier Álvarez
Lighting design: Gabriel Torres Vargas
Costumes: Cía Tania Pérez-Salas

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Photo by Andrea Lopez, courtesy of Dance at the Music Center

To read more opera, dance and music reviews by Jane Rosenberg click HERE.

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Jane Rosenberg is the author and illustrator of  SING ME A STORY: The Metropolitan Opera’s Book of Opera Stories for Children.   Jane is also the author and illustrator of  DANCE ME A STORY: Twelve Tales of the Classic Ballets.  

 


Highlights of the Long Weekend: In Los Angeles

April 15, 2015

By Don Heckman

Anne-Sophie Mutter

Anne-Sophie Mutter

– April 16. (Thurs.) The Mutter Bronfman Harrell Trio. Three international virtuosi – violinist Anne-Sophie Mutter, pianist Yefim Bronfman and cellist Lynn Harrell – apply their remarkable skills to a program of classic piano trios: Beethoven’s Piano Trio in B-flat major, Op. 97 “Archduke” and Tchaikovsky’s Piano Trio in A minor, Op. 50. Valley Performing Arts Center. (818) 677-8800.

Pat Senatore

– April 16. (Thurs.) The Pat Senatore Trio. A cross-generational performance, with veteran bassist Senatore finding common creative ground with rising young stars Josh Nelson, piano, and Dan Schnelle, drums. Vibrato Grill Jazz…etc.  (310) 474-9400.

– April 16 – 19. (Thurs. – Sun.) The Los Angeles Philharmonic, conducted by Neeme Jarvi, perform an evening of Brahms: Symphony No. 4 and the Tragic Overture. Violinist Martin Chalifour is aso featured on Suk’s Romantic Reverie. Disney Hall.  (323) 850-2000.

Kevin Bachelder and Jason Lee Bruns

Kevin Bachelder and Jason Lee Bruns

-April 17. (Fri.) Jason Lee Bruns Jazz Collective. Drummer Bruns and singer Kevin Bachelder celebrate the release of their dynamic new CD, Cherry Avenue. The E-Spot at Vitello’s.  (818) 769-0905.

– April 18. (Sat.) An Evening With Gilberto Gil. The great Brazilian singer/songwriter makes a rare Southland appearance. Center for the Art of Performance at U.C.L.A.  (310) 825-0768.

Judy Wexler

Judy Wexler

-Apil 18. (Sat.) Judy Wexler. Convincingly singing and swinging her way across pop through jazz, Judy is a uniquely original artist.  This time out, she celebrates her “Surreal 60th Birthday Bash.” The E-Spot at Vitello’s.   (818) 769-0905.

– April 18. (Sat.) The Martha Graham Dance Company. The great dance company performs a set of Graham classics: Appalachian Spring, Lamentation Variations, Errand and Echo-Foniadakis. Valley Performing Arts Center.
(818) 677-8800.

– April 19 (Sun.) Omar Sosa. For years, Sosa has been finding fascinating creative connections between jazz and many other areas of the world’s music. He’s backed by Leandro Saint-Hill, saxophones, flute; Ernesto Simpson, drums; Childo Tomas, electric bass. Catalina Bar & Grill.  (323) 466-2210.

Denise Donatelli

Denise Donatelli

– April 19. (Sun.) Denise Donatelli. Listening to Denise’s warm embracing voice and the buoyant swing she brings to every performance — recorded and live — inevitably raises the question as to why this gifted vocalist still hasn’t received a Grammy. But, awards or not, she continues to offer performances that are always memorable events. Don’t miss this one. Vibrato Grill Jazz…etc.  (310) 474-9400.


Highlights of the Weekend: In Los Angeles

February 27, 2015

By Don Heckman

Stanley Clarke

 

– Feb 27 & 28. (Fri. & Sat.) Stanley Clarke and Friends. Bassist Clarke’s “Friends” aren’t identified in the program for this gig. But Clarke, a world class artist with a stellar resume, can be counted on to surround himself with players capable of functioning at his Olympian jazz levels. In other words, expect the best. Catalina Bar & Grill.  (323) 466-2210.

– Feb. 28. (Sat.) The Bel Air Wine Festival’s Celebration Day of Wine, Music and Eight Charities. The afternoon gala starts at 1pm and finishes at 5pm. The evening portion of the day is 6pm – 10pm and will include a delectable dinner. The wine festival features wines from all corners of the globe, food prepared by Vibrato’s chefs and world class live entertainment. Hang Dynasty, whose members have worked with everyone from the Steve Miller Band , Stevie Wonder and Elton John to Pink Floyd and Ringo Starr will perform. There will also be a live auction during the evening gala. 100% of the Festival’s proceeds go to eight charities. Vibrato Grill Jazz…etc.  (310) 474-9400.

– Feb. 28. (Sat.) The Los Angeles Ballet performs one of the great classics in their repertoire, The Sleeping Beauty. Valley Performing Arts Center. . (818) 677-8800.

The LA Ballet's "Sleeping Beauty"

The LA Ballet’s “Sleeping Beauty”

– Feb. 28. (Sat.) The Venice Baroque Ochestra with mandolin soloist Avi Avital. Call it an evening of Vivaldi, performed by an ensemble, and a soloist adept at the special demands of Baroque era music. Segerstrom Center for the Arts.  (714) 556-2787.

– Feb. 28. (Sat.) The New West Symphony. One of the Southland’s great large ensembles, the NWS once again displays its far-ranging stylistic mastery in a program featuring Rachmaninov’s Symphony No. 2 in E minor, Opus 27, Saint-Sean’s Concerto No. 2 in G minor for Piano and Orchstra Opus 22, and Stravinsky’s Suite No. 2 For Small Orchestra. Thousand Oaks Civic Arts Plaza.  (805) 449-2100.

Wilson Phillips

Wilson Phillips

– Feb. 28. (Sat.) Wilson Phillips and Billy Ocean. It’s an offbeat combination, but one with a lot of apeal. The hit-making vocal sounds of Wilson Phillips and the r&b grooves of English born singer Billy Ocean. Cerritos Center for the Performing Arts.  (562) 916-8500.

Julian Lage

Julian Lage

– Feb. 28. (Sat.) The Julian Lage Trio.  Guitarist Lage, a prodigy as a teen-ager, has matured into a world class jcazz artiat.  And here’s a booking not to miss, in which he’s backed by bassist Scott Colley and drummer Eric HarlandThe Blue Whale.    (213) 620-0908.

– Mar. 1. (Sun.) Seth MacFarlane with The Ron Jones Jazz influence Orchestra. Entertainment world multi-hphenate MacFarlane is an actor, writer, producer, animator and, in recent years, a singer. He’s backed by the lush sound and solid swing of Ron Jones jazz Influence Orchestra. Click here to read a recent iRoM review of a MacFarlane vocal performance. Vibrato Grill Jazz…etc.  (310) 474-9400.


Live Music and More: Allessandra Belloni’s Tarantata Spider Dance at Redcat

February 6, 2015

by Jane Rosenberg

With her compelling stage presence, throaty mezzo, and raging tambourine, Allessandra Belloni is a force of nature. Through Southern Italian folk music, chant, and dance, Belloni and her company explored the sound and movement world of tarantella trance dancing at Disney Hall’s Redcat.

Allessandra Belloni

Allessandra Belloni

Tarantella traces its roots back to Greco-Roman times. The purging of a woman’s thwarted desires through ecstatic trance dancing, accompanied by vibrant percussion, was precipitated by the bite of the tarantula or “spider love bite.”

In Belloni’s contemporary manifestation, dancers spin, shake convulsively, and writhe on the floor. If this sounds like a personal exorcism of sorts, it is; and this is where the problem of performance sets in. As a healing rite it may have its benefits, or as a fascinating demonstration of an ancient folk tradition it’s effective. But as a two-act dance drama, strung together by narration, it fails. Dancers mime or perform choreographed routines that seem stilted rather than ecstatic. Only Belloni and one of her lead dancers are up to the task.

Belloni’s virtuosity on the tambourine is without question. Along with traditional instruments played onstage by an ensemble of musicians, her music director, Joe Deninzon adds modern electronic dance beats. I suspect this is the reason Belloni’s expressive voice is over amplified with an unfortunate loss of complexity and subtlety.

To be in Belloni’s presence, without the interference of electronic music, amplification, or the distraction of other performers, to my mind, would be the perfect way to sample the tarantella and connect to the true meaning of the spider dance.

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To read more dance and music reviews by Jane Rosenberg click HERE.

Jane Rosenberg Dance Book cover.

Jane Rosenberg is the author and illustrator of  DANCE ME A STORY: Twelve Tales of the Classic Ballets.  Jane is also the author and illustrator of SING ME A STORY: The Metropolitan Opera’s Book of Opera Stories for Children

 


Picks of the Week: January 5 – 11

January 6, 2015

As we move into the first weeks of 2015, the iRoM Picks of the Week will begin to reach beyond the Los Angeles-centric choices of the past few years. We will, of course, continue to survey L.A.’s ever-changing banquet of musical pleasures. But we will also begin to highlight and emphasize a broad range of choices reflecting the International perspective which is at the heart of our mission and our name.

By Don Heckman

Los Angeles

Michael TIlson Thomas

Michael TIlson Thomas

– Jan. 9 – 11. (Fri. – Sun.) The Los Angeles Philharmonic. Michael Tilson Thomas celebrates his 70th birthday by conducting the L.A. Phil. and the Los Angeles Master Chorale in a spectacular, world premiere production of Beethoven’s Missa Solemnis with video and lighting design. Disney Hall.  (323) 850-2000.

– Jan. 9 – 11. (Fri. – Sun.) The Lee Ritenour Band. He’s been called “Captain Fingers” for his impressive guitar technique, but Ritenour is also an imaginative, hard swinging jazz artist. He performs here with the fine backing of Dave Weckl, drums, Tom Kennedy, bass and pianist Makoto Ozone. Catalina Bar & Grill.  (323) 466-2210.

– Jan. 6. (Tues.) John Proulx Trio. Proulx is on many first-call lists for his fine piano work. But Proulx is an engaging vocalist as well, building a career as a prime entry in the slowly growing cadre of male jazz singers. Vibrato Grill Jazz…etc.  (310) 474-9400.

Carol Bach-y-Rita

Carol Bach-y-Rita

– Jan. 11. (Sun.) Carol Bach-y-Rita. A singer with a voice to remember, Bach-y-Rita (her name is Catalan) brings convincing interpretations and rhythmic ease to songs reaching from samba and salsa to crisp jazz rhythms, often in 4 or 5 languages. She’s especially worth seeing and hearing in the elegant setting of Herb Alpert’s Vibrato Grill Jazz..etc. Vibrato Grill Jazz…etc.  (310) 474-9400.

San Francisco

– Jan. 8 – 11, (Thurs. – Sun.) Pharoah Sanders. The far-reaching jazz explorations of the avant-garde ’60s are still alive and well in Sanders’ adventurous tenor saxophone. An SFJAZZ event at Miner Auditorium (866) 920-5299.

– Jan. 9. (Fri.)  The San Francisco Symphony and The Godfather.  Justin Freer conducts the Symphony in a live orchestral performance of Nino Rota’s film score in sync with a screening of Francis Ford Coppola’s film masterpiece.  Davies Symphony Hall.  (415) 864-6000.

Oregon

Portland – Jan. 7. (Thurs.) The Mel Brown B3 Organ Group has been playing at Jimmy Mak’s in Portland for more than 16 years. No wonder George Benson once said “if this band played in New York City, they’d be a sensation.” Jimmy Mak’s.  (503) 295-6542.

Ashland – Jan. 9 & 10. (Fri. @ 7:30 p.m. & Sat. @ 3 p.m.) The Tesla Quartet. The stellar young artists in the Tesla Quartet have established themselves as a significant international chamber ensemble in the few years since they graduated from Julliard. They’ll perform works by Bartok, Dvorak, Haydn, Mendelssohn, Webern, Beethoven and others. Chamber Music Concert Series at Southern Oregon University Music Recital Hall.  (541) 552-6154.

New York City

Ravi Coltrane

Ravi Coltrane

– Jan. 6 – 11. (Tues. – Sun.) The Monterey Jazz Festival on Tour. Here’s a rare chance to experience some of the impressive music from what is arguably one of the finest jazz festivals in the world. The featured players in this stellar aggregation include trumpeter Terence Blanchard, saxophonist Ravi Coltrane and the Gerald Clayton Trio. The Blue Note. (212) 475-8592.

– Jan. 8 – 10. (Thurs. – Sat.) The 2015 NYC Winter Jazzfest. The three day Jazzfest, which takes place at theatres and clubs across Greenwich Village offers a rare display of jazz eclecticism. With talent ranging from iconic names to new arrivals, with stylistic explorations of every jazz genre, it provides a brilliant survey of jazz in all its irresistible shapes and forms. The 2015 Winterjazz Fest.

-Jan. 11. (Sun.) Lisa Hilton. Composer-pianist Hilton debuts new compositions from her album Horizons in a live performance with saxophonist J.D. Allen, drummer Rudy Royston, bassist Ben Street, and Ingrid Jensen on trumpet and flugelhorn. Carnegie Hall (Weill Recital Hall).

London

– Jan. 5 – 7. (Mon. – Wed.) Scott Hamilton Quartet. Jazz history, past and present is vividly alive in Hamilton’s buoyant tenor saxophone work. The Pizza Express Jazz Club Soho.

Tania Maria

Tania Maria

Milan

– Jan. 9 – 11. (Fri. – Sun.) Tania Maria. The loving partnership between Brazilian music and American jazz is on full display with everything the versatile Tania Maria sings and plays. The Blue Note Milano.  +39 02 6901 6888.

Switzerland

– Jan. 11. (Sun.) Lang Lang. The gifted young Chinese pianist makes one of his rare European appearances. Stadt-casino – Hans Huber Saal, Basel.

Andorra

Joshua Bell

Joshua Bell

– Jan. 9. (Fri.) Joshua Bell and his violin take center stage with the Academy of St. Martin in the Fields European Tour: Andorra. The dynamic program reaches from Bach’s Violin Concerto in A minor, Mendelssohn’s The Hebrides, Beethoven’s Symphony No. 5 and Mozart’s Symphony No. 40. The tour also includes performances in Mannheim (Jan. 14), Vienna (Jan. 15) and Hamburg (Jan. 16).

 

Moscow

– Jan. 5 – 11. (Mon. – Sun. The Nutcracker: A Ballet in Two Acts. The Bolshoi Ballet accompanied by the Bolshoi Theatre Symphony Orchestra.

The Bolshoi Ballet

The Bolshoi Ballet

What will surely be a memorable performance in the Bolshoi Ballet and Opera Theatre.

Tokyo

Richard-Bona

Richard-Bona

– Jan. 10 & 11. (Sat. & Sun.) The Richard Bona Group. Bassist Bona, born in Cameroon, burst onto the New York jazz scene in the mid-’90s, quickly establishing his uniquely original style with the likes of George Benson, Branford Marsalis, Chaka Kahn Randy Brecker and others. Since then he’s led a sequence of his own musically compelling ensembles. Tokyo Blue Note.  +81 3-5485-0088.


2014 Remembered: Memorable Opera and Dance Performances

December 27, 2014

By Jane Rosenberg

Los Angeles may be suffering the effects of a drought, but the year was a deluge of notable performances in opera and dance.

Team a dynamic conductor, James Conlon, with a great coloratura soprano, Albina Shagimuratova, and add the glass harmonica played by rare musical instrument soloist, Thomas Bloch. The result: Lucia di Lammermoor’s mad scene and one of the most memorable moments in LA Opera’s history.

Lucia Di Lammermoor

Lucia Di Lammermoor

 

But this performance wasn’t the only brilliant turn in 2014. Baritone Liam Bonner in Benjamin Britten’s wrenching Billy Budd was a standout with his beautifully modulated voice and truthful portrayal. The LA Opera orchestra and chorus along with the superb cast of principals made this a production to remember. Bonner returned as Aeneas in Dido and Aeneas and his supple baritone and charismatic presence were again worth noting.

We had a wonderfully varied year of opera, with the addition of the bluesy romanticism of Andre Previn’s A Streetcar Named Desire starring the incomparable Renée Fleming, for whom the opera was created. Plácido Domingo, the general director of LA Opera, astonished all with his transition from tenor to baritone. Performing the role of Athanaël in Massenet’s Thaïs, he sang with expressive warmth and was thoroughly convincing as the tormented monk.

A Streetcar Name Desire

A Streetcar Name Desire

In 2013, Los Angeles was treated to Robert Wilson’s Einstein on the Beach at the LA Opera. In 2014, UCLA’s Art of Performance series at Royce Hall brought us Wilson’s musical and theatrical high jinks in The Old Woman, based on the absurdist writings of the Russian poet, Danill Kharms, and blessed with the vaudevillian antics of Mikhail Barishnikov and Willem Dafoe. How lucky can one city get – unless, of course, we can arrange another Wilson offering in 2015?

Mikhail Baryshnikov and Willem Dafoe

Mikhail Baryshnikov and Willem Dafoe

On the dance front, BalletBoyz gave us all male, tour-de-force dancing in pieces by Liam Scarlett and Russell Maliphant.

BalletBoyz

 Romeo and Juliet, choreographed by Alexi Ratmansky to Prokofiev’s magnificent ballet score, was presented by The National Ballet of Canada and lingers in the mind with its glorious sets and costumes by Richard Hudson. Ballet Preljocaj’s Les Nuits, inspired by One Thousand and One Nights, was a magic carpet ride of a ballet, exploring not only the mythic, but also woman’s role in society and our cultural prejudices. And the inimitable Paul Taylor and his company gave us a diverse program of elegant and uplifting dance in Airs, antiwar sentiments in the heroic Banquet of Vultures, and delightful insect humor in Gossamer Gallants.

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To read more dance and music reviews by Jane Rosenberg click HERE.

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Jane Rosenberg is the author and illustrator of  SING ME A STORY: The Metropolitan Opera’s Book of Opera Stories for Children.   Jane is also the author and illustrator of  DANCE ME A STORY: Twelve Tales of the Classic Ballets.  


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