Picks of the Weekend on the Left Coast

April 23, 2015

By Don Heckman

Los Angeles, California

 

Damien Rice

Damien Rice

 

– April 24. (Fri.) Damien Rice.  Highly praised Irish singer/songwriter Rice celebrates the release of his latest CD, My Favourite Faded Fantasy, already receiving rave international reviews. The Greek Theatre.   (323) 665-5857.

– April 24. (Fri.) Pete Christlieb Quartet. Saxophonist Christlieb has been a first call player for the full run of his stellar career. Here he is up close and in action, backed by some of the Southland’s prime rhythm section artists. Vibrato Grill Jazz…etc.  (310) 474-9400.

Billy Cobham

Billy Cobham

– April 24 – 26. (Fri. – Sun.) Billy Cobham’s Spectrum 40. Percussionist Cobham’s diversity of musical interests are fully present in the eclectic playing of his Spectrum 40 band, with Ric Fierabracci,
Dean Brown and Gary Husband.  Catalina Bar & Grill.  (323) 466-2210.

Carol Bach-y-Rita

Carol Bach-y-Rita

– April 26. (Sun.) Carol Bach-y-Rita. Fluent in several languages, engagingly musical in everything she sings, Bach-y-yRita is especially appealing with the music of Brazil, Spain and Portugal. She’ll be superbly backed by Bill Cantos, piano; Larry Koonse, guitar, John Leftwich, bass; Mike Shapiro, drums.  Vibrato Grill Jazz…etc.  (310) 474-9400.

– April 26. (Sun.) Esperanza Spalding. Grammy-winning bassist, singer and songwriter Spalding presents a program of works performed by her Chamber Music Society and Radio Music Society. , Disney Hall.  (323) 850-2000.

San Francisco, California

Charles Lloyd

Charles Lloyd

– April 24 – 26. Fri. – Sun. Charles Lloyd Quartet. One of the great, iconic players of the jazz saxophone. His remarkable accomplishments reach back to the edgy sixties, and Lloyd continues to be one of the cutting edge jazz artists of the new millenium. Don’t miss this rare chance to hear and see him. SFJAZZ. . (866) 920-5299.

Santa Cruz, California

April 23. (Thurs.) Tommy Igoe Groove Conspiracy. Drummer Igoe’s funk-driven Groove Conspiracy has been labeled – accurately as “a rock band in a jazz band’s body.” Expect an evening of irresistible rhythmic excitement. Kuumbwa Jazz 40. If you don’t make this one be sure to catch their next appearance. (831) 427-2227.

Ashland, Oregon

Christofuren Nomura– April 24. (Fri.) Christopheren Nomura. The rich baritone voice of classical singer Nomura meets the challenge of a versatile program of Schubert, Mahler and Ravel. Chamber Music Concerts in the Southern Oregon University Music Recital Hall. (541) 552-6154.

Seattle, Washington

– April 24 – 26. (Fri. – Sun.) Sergio Mendes He’s been one of the international voices of Brazilian music in general and specifically the bossa nova, reaching back to his breakthrough Brazil 66 band of the sixties. And he’s still at it.  Jazz Alley.   (206) 441-9729,


Live Music: Herb Alpert and Lani Hall at Vibrato Grill Jazz…etc.

October 9, 2014

By Don Heckman

Bel Air, CA.  Vibrato Grill Jazz…etc. became a very special place when Herb Alpert took it over a few years ago, transforming a small venue in a mini-mall at the top of Beverly Glen into a fine food connoisseur’s delight and a world class showcase for jazz.

Herb Alpert and Lani Hall

And it becomes even more special when Alpert, his wife, vocalist Lani Hall, and their all star band put in an appearance. As they did Tuesday night.

The fact is that there’s nothing quite like hearing Alpert perform in his own club. There’ve been musician club owners over the years – Shelly Manne, Ronnie Scott, Igor Butman, to name a few – all of whom played in their own venues from time to time.

Herb Alpert

But when Herb Alpert plays in Vibrato, he’s not just on stage at his own elegant Bel Air bistro. He’s performing in a virtual art gallery, surrounded by walls displaying his large, colorful abstract expressionist paintings and his sculptures of musicians in the act of playing. Add to that the remarkable collection of repertoire that he brings to his performances – selecting material reaching from his latest albums to hit songs from his Tijuana Brass successes of the ’60s.

At the center of his music, Alpert – at 79 – reminded us that he is still a remarkable trumpeter and a gifted improviser. Not often given sufficient credit for the quality of his instrumental skills, he once again displayed his Miles Davis-inspired ability to bring a song vividly to life.

And let’s not overlook Alpert’s unspoken, but significant subtitle of “philanthropist” in recognition of the large generous funding he has bestowed upon University music programs and gifted young artists in many genres.

All those elements and more were present Tuesday night when Alpert and Hall – backed by pianist Bill Cantos, bassist Hussain Jiffry and drummer Michael Shapiro – celebrated the release of their new album, In the Mood.

The Herb Alpert Band

When Alpert noted that the performance was the start of a tour introducing the album, he also added, whimsically, that they did not include the classic Glenn Miller hit “In The Mood” on the CD, or in their set of the night. But no problem there. After romping through “Chatanooga Choo Choo” the band also dug into “Blue Moon,” “Begin the Beguine,” “Let it Be Me” and more from an album displaying all the signs of presenting Alpert with his next Grammy Award.

Lani Hall and Herb Alpert

Lani Hall and Herb Alpert

Other highlights included entertaining looks at both Alpert’s and Hall’s stellar pasts. The Tijuana Brass medley called up stirring memories of the Alpert band that topped Bob Dylan and the Beatles on the Billboard charts in the mid-’60s. And an Antonio Carlos Jobim medley showcased Hall’s mastery of bossa nova songs (and Portuguese), reaching back to her stint with Sergio Mendes’ Brasil ’66 as she applied her warm, intimate contralto to songs such as “The Waters of March,” “Corcovado” and “”Samba de Uma Nota Só.”

As always, Alpert and Hall were superbly backed by Cantos, Jiffry and Shapiro who consistently found the perfect balance between energizing the rhythm while supporting the headliners’ many interpretive subtleties. And Cantos, a versatile singer/instrumentalist in his own right, has recently added colorful synth textures to his fine piano work, as well as his own back up vocals on a few tunes.

In sum, call it one of the most notable musical experiences of the year. All of the Vibrato appearances of Alpert and Hall have been memorable. As was this one. And I (along with, I suspect, the many members of the packed house) look forward to many more.

* * * * * * * *

Photos by Faith Frenz

 


Live Jazz: Herb Alpert and Lani Hall at Vibrato Grill Jazz…etc.

March 20, 2014

By Don Heckman

Herb Alpert

Herb Alpert

Bel Air, CA. It was another rare performance to remember Tuesday night at Vibrato Grill Jazz…etc. On stage, veteran jazz trumpeter, band leader and club owner Herb Alpert and his wife, singer Lani Hall, were backed by their fine rhythm team: pianist/keyboardist Bill Cantos, bassist Hussain Jiffry and drummer Michael Shapiro.

Lani Hall and Herb Alpert

Lani Hall and Herb Alpert

Offering a program reaching from jazz classics and Songbook standards to a medley of tunes from the hit recordings of Alpert’s Tijuana Brass, the performance took place at the center of the rich, colorful environment Alpert has been creating for Vibrato since he first bought the Bel Air club and transformed it into his perspective of what a fine jazz club/restaurant can be. In the process, his paintings and sculptures – abstract but visually gripping – combined with the re-designing of the room to provide the perfect setting for his always-engaging music.

There were no real surprises in the program for anyone who’s heard Herb and Lani in their recent performances at Vibrato. But no worries there. Whether Herb was playing “A Taste of Honey” or singing “This Guy’s in Love with You”; whether Lani was singing Van Morrison’s “Moon Dance” or the bossa nova delight “O Pato,” the results were always fascinating.

Lani Hall and Herb Alpert

Lani Hall and Herb Alpert

Hearing repetitions of familiar songs can be less than appealing from artists who basically play their “hits” like living juke boxes. With Herb and Lani, however, hearing them perform over the years –singing and playing together — has provided unique opportunities to experience a pair of gifted artists bring new interpretive perspectives to everything they played and sang. As they did on this memorable evening.

Herb has always had a gift for melodic paraphrasing in his solos, and recent years have seen him find even more expressiveness in his improvising, often suggesting the sort of clear-cut, lyrical melody-making long associated with Miles Davis.

Lani Hall

Lani Hall

Lani has been a fine musical story teller since the release of her first album Sundown Lady in the ’70s. In reviewing that album for the New York Times, I referred to her “mix of drama, song, soul and universal emotion that uncovers the real pathos in the lyrics of a song.” Which is precisely what she did in this performance with a deeply emotional interpretation of “Fly Me To The Moon.”

Add to that the superb support of the rhythm section of Cantos, Jiffry and Shapiro, creating a warm setting for Herb and Lani, with Cantos contributing a briskly rhythmic scat version of “I’ve Got You Under My Skin” and Jiffry offering some guitar-like bossa nova backing on his bass.

In sum, call it a mesmerizing musical offering performed with dynamic creativity. No wonder that the overflow audience responded enthusiastically to every song, demanding and getting encores, and wishing for more.

Photos by Faith Frenz.


Record Rack: Lyn Stanley, Lisa Engelken

December 11, 2013

Of West Coast Girls

By Brian Arsenault

The Left Coast is not taken seriously enough by the New York centric jazz “world” as a producer of any jazz, but maybe particularly female jazz singers. Of course, Queen Bentyne is based there now but she’s late of Manhattan Transfer so the East Coast still claims her.

So here come two very different talents to turn our eyes and ears to the West. You know, LA, San Francisco. The places that mostly stay warm but are oh so cool.

 Lyn Stanley

Lost in Romance (A.T. Music)

Only a few tracks are required for the listener to be Lost in Romance with Lyn Stanley. I was there by “The Nearness of You.” By then, she has warmed the room with a series of classics from Irving Berlin, Johnny Mercer, Hoagy Carmichael.

The room is in a small club. Perhaps near the desert. Dim lighting. Bogie and Bacall unobtrusive in the back of the room. Dietrich’s set over, she stays to listen.

The room has a piano that accompanies her so well whenever Tamir Hendelman or Mike Lang sit in. Tenor sax (Bob Sheppard), trombone (Bob McChesney), flugelhorn (Gilbert Castellanos, also on trumpet) in the backing group which plays every note to complement her. Every single note.

And those notes are all full and rounded, almost never sharp and stinging. Perhaps vinyl was required for the richness throughout. I’d like to think so. (two 180 gram 45 rpm albums which I first tried to play as 33s. Slowwwwwwwww. Also available in CDs and downloads for the unromantic.)

The striking blond former ballroom dancer opens and closes the album with songs entwined with dance.

First: “Change Partners,” where she lingers over each note, each moment, seeking her chance.

Last, naturally: “The Last Dance,” where the partner has been found and the evening is regrettably ending but “keep holding me tight.”

In between, the bartender leans in to listen as she asks for “One More for My Baby.” Each word, each inflection so important as “You Go to My Head.”

Her phrasing is close, intimate, personal. Not like Sinatra’s phrasing but with Ol’ Blue Eyes’ requirement that you listen to the story, that you feel it might be sung directly to you.

I don’t think her talents are best suited for Willie Dixon’s “I Just Want to Make Love to You” but she shines on George Harrison’s “Something” which Sinatra called the only really good love song in eons.

On “Fever”, the warmth becomes heat. Peggy Lee may have been the first white girl singer so openly sexual but Lyn Stanley takes it a bit sultrier, plays with it a bit. A touch of how Marilyn would have sung it. Finger snaps as percussion.

Another strength of vinyl; each time you get to flip the album or put on the second disc (may I say record), you’ll be pleased there’s another side. You’ll wish you were at that imaginary club that night. But go ahead, careful not to smudge the grooves, put on the album and soon you will be.

Lisa Engelken

little warrior (CD Baby)

If Lyn Stanley is the epitome of classic romance and the classic American songbook, Lisa Engelken is the postmodernist purveyor of pain and alienation.

. . . for there must be a god to exist such a godless man. . .”

If Lyn Stanley rounds each note and lingers for its full effect, Lisa Engelken frequently blows through lyrics with staccato phrasing. Everything at times is a single chopped note since she must move on and not linger.

send me keys

send me jets

send me trains . . .

and don’t forget instructions as to what to do with your remains”

Don’t get me wrong. Lisa’s range of emotions, as well as octaves, is extensive. The album includes the reflective “little warrior” title song and Chick Corea’s gently rolling “sea journey.”

But pain is near at all times. It’s integral to her art.

blue valentines” is Tom Wait via Billie Holiday (can’t beat that for melancholy) through Lisa. The band gets it. Bill Cantos’ piano chords keep a somber pace. Sam Bevan’s bass descends with her voice. Sadness keeps a grip impervious to whiskey.

She moves with Joni Mitchell’s “cold blue steel & sweet fire” to some very personal hell vision of “. . . vicious gnawing in the veins. . .” This seven minutes, a dark trip, is orchestral, at times symphonic — Lisa says she wants to sing it with the San Francisco Symphony — but some of the musicians may have hooves and tails, maybe even horns.

Even in the supposedly upbeat “viva la felicita,” an alleged ode to happiness, the chorus in Italian is “eh poi, eh poi?” what else, what else is there? Can’t get more post modernist than that. Like an Italo Calvino short story.

For this album to end on the sweetness of “All I Do Is Dream of You” is either ironic or an inside joke. This is a singer pushing some boundaries and a long way from romance. But we know the World needs more than one vision.

* * * * * * * *

To read more posts, reviews and columns by Brian Arsenault click HERE.


Photo Review: Lyn Stanley at Vitello’s

December 9, 2013

Photos by Bob Barry and Faith Frenz

Studio City, CA. Singer Lyn Stanley’s first creative expression was ballroom dancing. And she did it so well that she won three events and two national titles in ballroom competitions in 2010. But her affection for, and expertise in dancing were always intimately connected to her equally passionate attraction to music in general and singing in particular.

As she began her singing career, strongly motivated by the music that had always been present in her family, Lyn was constantly drawn to the linkages between music and dance. And when she met the legendary jazz pianist and accompanist Paul Smith – whose credits reach from Ella Fitzgerald to Mel Torme — his guidance led her on the path to the creative vocal career she had been seeking. The release of her first album, Lost In Romance, announced the arrival of an intriguing new musical talent.

Lyn’s performance at Vitello’s last Friday was a stirring display of her fascination with song and dance. Further enhancing the evening, April Williams, Vitello’s musical manager, arranged for the installation of a wooden tile floor to encourage dancing, as Lyn featured many of the songs from her new album. All of which motivated us to present a photo review of this impressive new vocalist in action, backed by the stellar band of pianist Bill Cantos, bassist Kevin Axt, guitarist Grant Geissman, saxophonist Rickey Woodard, drummer Kendall Kay and music director Steve Rawlins.

* * * * * * * *

“Little Drummer Boy”

“I Just Want To Make Love To You”

“One For My Baby” with Bill Cantos and Kevin Axt

. “My Foolish Heart”

“What Am I Gonna Do With A Bad Boy Like You” with Kevin Axt

* * * * * * * *

First, third and fourth photos by Bob Barry.  Second and fifth photos by Faith Frenz.


Live Jazz: Herb Alpert, Lani Hall and Sergio Mendes at the Hollywood Bowl

July 18, 2013

By Don Heckman

The 2013 summer season of jazz at the Hollywood Bowl clicked into place Wednesday night with the performances of Herb Alpert, Lani Hall and Sergio Mendes.

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.

Bill Cantos, Lani Hall, Hussain Jiffry, Herb Alpert and Michael Shapiro

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.”

Lani Hall and Herb Alpert

Lani Hall and Herb Alpert

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.

Sergio Mendes Band

Sergio Mendes Band

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


Live Music: Bill Cantos, Mari Falcone, Alan Bergman and Lillias White in a Society of Singers Program at Café Cordial

May 22, 2013

By Don Heckman

When the Society of Singers  (often referred to with the appropriate abbreviation S.O.S.) has a performance program it can best be described as a win-win event.  A winner in the sense that it raises funds for the S.O.S programs providing financial support for singers in need.  And a winner in the sense that audiences at S.O.S. events always experience programs of appealing musicality.

Which was exactly what happened at Café Cordial Monday night, when an enthusiastic turnout of S.O.S. supporters was entertained by the stellar line up of Alan Bergman, Bill Cantos & Mari Falcone and Lillias White.

Bill Cantos

Pianist/singer/songwriter Cantos was the emcee, the primary accompanist, and a performer in his own right for most of the evening.  As humorously entertaining as he was musically versatile, he assembled and managed an evening filled with songs.

Many came from his own growing catalog of works, others were provided by the always engaging Alan Bergman.  And at least one tune –- the whimsical “Everybody’s On the Phone” – was co-written by Cantos with Alan and Marilyn Bergman.

The program kicked off with Cantos’ “Morning Coffee,” followed by his “Sensibility” and “Who Are You?” Each song was delivered with the convincing, story-telling qualities and delightful humor that Cantos brings to his performances.  Add to that his far-ranging musicality, often scatting in unison with his piano lines, sometimes humming back-up counterpoint lines to his melodies.

Alan Bergman

Alan Bergman

Up next, Bergman offered one of his typically irresistible performances.  Hearing a songwriter sing his/her own songs is always an insightful experience.  But never more so than with Bergman, who is, in addition to his songwriting partnership with his wife, Marilyn, also a convincing singer in his own right.

Before he started, he offered one of his familiar nuggets of background on the art of writing song lyrics, noting that “the words are on the tips of the notes, and we have to find them.”  And then he proceeded to prove his point with his versions of “The Windmills of Your Mind” and “You Must Believe in Spring” (both classics written with Michel Legrand) and  “That Face” (written by Alan as a successful marriage proposal to Marilyn).

Lillias White

Lillias White

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Tony Award-winning Broadway star Lillias White then joined the Cantos trio for a jaunty, soulful group of numbers.  Beginning with Canto’s “You Got Me” she followed with a hilariously rocking “I Want A Big Fat Daddy” and the lyrical “Love Wins.”

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Mari Falcone and Bill Cantos

The evening was topped off by Cantos and his wife, pianist Mari Falcone.  Interacting musically, sharing the keyboard on their electric piano, they offered delightful renderings of Cantos’ “Perfect Day” and “Smoke and Mirrors,” along with a climactic “I’ve Got Plenty of Nothing.”

Call it a musical evening in which everything went right, from the quality of the performances to the support for the Society of Singers.  All of which provided plenty of good reasons – musical and otherwise — to show up for the next S.O.S. program.

* * * * * * * *

Photos by Faith Frenz.


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