Live Music: Gloria Estefan and the Hollywood Bowl Orchestra in an “America & Americans” Concert at the Hollywood Bowl

July 28, 2014

By Devon Wendell

Many music purists and snobs might balk at the mere mention of Gloria Estefan and dismiss her as being just another celebrity pop-star.  But Estefan proved to be a stellar musician with the chops, versatility, and stage presence of a great jazz singer at The Hollywood Bowl Saturday evening.

Estefan performed two sets consisting of her greatest hits and material from her 2013 Grammy nominated album The Standards featuring her own soulful twists on some of the most familiar standards from the American songbook.

Gloria Estefan

Gloria Estefan

Backed by a focused and subtle band featuring some of the greatest session musicians ( Shelton Berg: piano and musical director, Dean Parks: guitar, Carlos Puerto: bass, Ray Brinker: drums, Edwin Bonilla: percussion, Cynthia Medina and Socrates Perez on backing vocals and The Hollywood Bowl Orchestra (Conducted by Thomas Wilkins). Estefan kicked off the festivities with “Good Morning Heartache,'” “They Can’t Take That Away From Me” and Jobim’s “Yo Se Te Voy A Amar.”  Instead of dancing across the stage as she did over 30 years ago, Estefan stood poised, elegantly gripping the microphone like a true jazz crooner. Her voice has deepened with age in all the best ways. Her thick vibrato and dynamic phrasing fit these standards perfectly.  The choice of material never sounded forced for one moment.

Actor Andy Garcia made a guest appearance, playing congas on a very sexy salsa reading of Gershwin’s “You Made Me Love You.” This was a highlight of the evening. Estefan’s smoky yet playful vocals jelled beautifully with the pure Latin jazz horn hooks and percussion delivered by Estefan’s band and The Hollywood Bowl Orchestra.

Another program highlight was Estefan’s rendition of Fredrick Loewe and Alan Jay Lerner’s “I’ve Grown Accustomed To Her Face” dedicated to Estefan’s hubby of 36 years, Emillio. The band played at the level of a whisper. Berg’s stark and minimalistic piano accompaniment complimented every carefully delivered phrase and nuance by Estefan.

Estefan also played more mature,, jazzier versions of her biggest hits such as “Here We Are,” a slow, jazz-tinged arrangement of “Conga” and “Rhythm Is Gonna Get You,” giving the show a sense of continuity and focus.

On “Rhythm Is Gonna Get You” Estefan was joined by The Youth Orchestra Of Los Angeles. These kids really knew how to swing hard, adding more excitement to the program.

Another guest was Estefan’s teenage daughter Emily, who played acoustic guitar and sang Neil Sedaka’s “Where The Boys Are” with her mom singing background vocals on this doo-wop ballad. Emily sounded a lot like her mother when she was starting out in the late ’70s with the Miami Sound Machine.

After a brief intermission, Estefan presented her second set which was more subdued, aside from her classic pop anthems “Bad Boy” and “1-2-3,” although her classic ballads “I Can’t Stay Away From You,” “Don’t Want To Lose You Now” and “Anything For You” had a sad and haunting feel to them. The lyrics felt more sincere than when they first hit the charts almost a quarter of a century ago.

Estefan’s renditions of “The Way You Look Tonight,” “Smile” and “What A Wonderful World” had a beautiful darkness to them, especially Shelton Berg’s arrangement of the Louis Armstrong classic. Estefan has one of the most powerful and rich vocal vibratos I’ve ever heard and I hadn’t heard so vividly until this evening’s performance.

As haunting as the material felt at times, Estefan’s warm and humorous stage presence created a nice balance in the show’s overall mood.

The most interesting experiment of the entire evening was a sexy, R&B fueled take on George Gershwin’s “How Long Has This Been Going On.” Dean Parks’ rhythm guitar comping played sweetly along with the steady bass line played by Carlos Puerto. Estefan’s vocal delivery proved that she not only has a strong understanding of the complex chord changes but also a deep felt knowledge of the mature lyrical content which separates a good singer from a great one.

Estefan ended the show with the disco anthem “Turn The Beat Around” accompanied by an incredible fireworks display that was synchronized with the music. All in attendance were having a blast, especially the “Glo-Heads,”Estefan’s most loyal fans who took up a third of the upper portion on the Bowl, sporting purple glow sticks.

As an encore, Estefan performed a heartfelt, bluesy reading of the Carol Leigh standard “Young At Heart” to cool things down. The strings, harp, and brass of The Hollywood Bowl Orchestra sounded perfect behind Estefan, creating a dream like ambiance.

Gloria Estefan performed one of the finest concerts I’ve witnessed in a long time, destroying all notions I had of her just being a pop singer. Estefan can do it all and her mature, sultry performance was the perfect fit for a summer concert at The Hollywood Bowl.

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To read more posts, reviews and columns by Devon Wendell click HERE.


Live Jazz: Cat Conner’s “Birthday Bash” at Vitello’s

April 26, 2013

By Don Heckman

Jazz singer Cat Conner gave a birthday party to remember at Vitello’s Thursday night.  Actually, a “Birthday Bash,” as she described it, in which she and her close friend, Lee Hartley, sang their way through a delightful evening of song.

Christian Jacob. Cat Conner, Chuck Berghofer

Christian Jacob. Cat Conner, Chuck Berghofer

Cat Conner

Backed by the stellar trio of pianist Christian Jacob, bassist Chuck Berghofer and drummer Ray Brinker, with creative contributions from saxophonist/clarinetist Gene “Cip” Ciprano, Conner and Hartley were clearly enjoying each of the numbers they sang in a nearly two hour program.

After the trio’s opening romp through “Stella By Starlight,” Conner dug into a jaunty “What A Little Moonlight Can Do,” following it with “You Stepped Out Of A Dream” and Dave Frishberg’s whimsical blues, “I Can’t Take You Nowhere” (which she dedicated to her mother.)  Here, as elsewhere, Conner displayed her warm, intimate way with a song.

Cat Conner and Lee Hartley

Cat Conner and Lee Hartley

Hartley, an impressive jazz artist in her own right, added her gently swinging “I Love Being Here With You” and an original song inspired by Nat “King” Cole.

There was much more to come, including “My Wish For You,” an intriguing version of a lovely Luis Bonfa melody from the film, Black Orpheus, with lyrics by Peggy Lee.  And a romp through “Mr. P.C.” featuring Berghofer’s articulate soloing.  Along with the occasional pairing of Conner and Hartley on tunes such as “I Mean You” and a lyrically revised “Girl Talk.”

Cat Conner, Gene "Cip" Cipriano and Lee Hartley

Cat Conner, Gene “Cip” Cipriano and Lee Hartley

Cipriano, playing clarinet (and calling up images of Artie Shaw), joined Conner and the rhythm section to duet on “Moonglow” and “Squeeze Me.”  Conner was also especially on target, continuing to focus on her musical storytelling via warm interpretations of “How Deep is The Ocean?” and “Embraceable You.”  She wound up the celebration with a high spirited romp through Sonny Rollins’ “St. Thomsas.”

The birthday party climaxed with, appropriately, some birthday cake, and a lot of celebratory hugs between Conner and her listeners, most of whom seemed to be close friends and musical acquaintances.

Which wasn’t exactly what one expects from a mid-week gig.  But on this enjoyable evening, Conner, Hartley and their back-up trio found all the pleasant linkages between the music and the birthday celebration.  And, as oten happens at Vitello’s, the performance had the relaxed feeling of a living room jam session among close friends.

No wonder Cat was smiling for most of this night to remember.

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Photos by Faith Frenz.


Live Jazz: Sue Raney at Vitello’s

December 31, 2012

By Don Heckman

Studio City, CA.  Sue Raney was at it again last night at Vitello’s, offering a pre-New Year’s Eve seminar in jazz singing.  And, yes, I know the word “seminar” has an academic inference that doesn’t really capture the full quality of her performance.  But there was no denying the effectiveness of Raney’s demonstrations of how to bring a far-ranging variety of songs fully to life.

Singing with the prime accompaniment of pianist Tom Ranier’s trio, with bassist Trey Henry and drummer Ray Brinker, she offered a program overflowing with classic songbook items, seasoned with a few rarely heard songs.  Over the course of her twenty or so selections, she chose songs rich with emotions, both romantic and otherwise, that favored her stylistic blend of expressive feelings and lyrical phrasing.

Sue Raney

Sue Raney

There were many musical highpoints, beginning with the Ranier trio playing a briskly swinging “If I Were A Bell,” before Raney embarked on her evening’s fascinating musical journey.  Along the way, she spent time with one classic after another: “Here’s To Life,” “Some Other Time,” “I’ll Be Seeing You” and “They Can’t Take That Away From Me” (both done in unexpectedly rhythmic renderings), “It Could Happen To You” and, appropriately, “What Are You Doing New Year’s Eve?”

Add to that the less often heard but no less appealing “Emily,” “Aren’t You Glad You’re You,” “Time Was” and “Don’t Look Back.”

Occasionally, Raney combined pairs of songs with similar subjects into medleys.  The pairing worked well with “Once Upon A Summertime” and “The Summer Knows,” in part because of Michel Legrand’s atmospheric melodies.   Another pairing – “When the World Was Young” and “Young and Foolish” – was a less successful blend of songs with very different lyrical and musical orientations.

There were more, but regardless of what Raney sang, it resonated with the qualities that have made her a classy performer since her first album When Your Lover Has Gone (produced by Nelson Riddle) was released in 1958: a warm, richly-timbred voice soaring freely over a good three or four octaves; articulate phrasing; communicative, lyrical story-telling; and a brisk sense of swing.

Not bad for a singer who turned 72 in June.  But Raney is still in prime creative form, with many songs and much music still to go.  Don’t miss her next appearance.

Photo by Faith Frenz.

 To read an iRoM review of a previous Sue Raney performance click HERE.


Live Jazz: The Tierney Sutton Band at Catalina Bar & Grill

May 26, 2012

By Don Heckman

One of the great pleasures of writing about music is the opportunity to experience the progress that can take place, over months and years, in the work of gifted artists.  Hearing the Tierney Sutton Band at Catalina Bar & Grill Friday night was a good example.

It had been less than a year since I’d last heard Tierney and the guys in the same venue.  And that performance was admirable in every way.

This time out, some of the material from that show was repeated, notably selections from the TSB’s latest recording, American Road. And there was more – some random choices from the Great American Songbook, medleys of songs from My Fair Lady and Porgy and Bess.  All of it illustrating the creative evolution of this remarkable musical collective.

Regardless of what Tierney sang, it was offered with an almost literary layering of emotional story telling.  The impact began early in nearly every song. Often, starting with the opening Softly, As In A Morning Sunrise, her first expression was a wordless improvised passage.  Some of them recalled the musical intimacy of the Bach Sonatas for Solo Violin.  Others simmered with slipping and sliding jazz accents.

When Tierney moved into the interior of a song, the carefully crafted group arrangements that are an essential characteristic of the TSB took over.  Some of the arrangement elements depicted stylistic aspects of the band’s unique musical identity: shifting from a groove tempo, often in 6/4, to a high speed, autobahn rhythm in 4; using dramatic percussion explosions from drummer Ray Brinker to create emotional transitions; dazzling improvisational interplay between Tierney’s wordless scatting and the fleet-fingered soloing of pianist Christian Jacob.

Tierney celebrated the presence of Alan and Marilyn Bergman in the audience with an exquisite version of “What Are You Doing the Rest of Your Life?” completely capturing the song’s light-hearted poignancy.  Another standard, “I Want To Be Happy,” showcased more of the TSB’s stunning blend of precise, but hard-swinging rhythm and soaring improvisational spontaneity.

Add to that a pair of tunes from the band’s Desire album juxtaposing the sweet sentimentality of “Then I’ll Be Tired of You” with the darker tendencies of “Cry Me A River,”  linked by a surging bass interlude from Kevin Axt. And top it off with Tierney’s rousing romp through “The Lady Is A Tramp.”

As I suggested above, hearing the continually growing artistry of an already masterful jazz ensemble such as the Tierney Sutton Band is one of the great satisfactions in my line of work.  And this performance offered all that and a lot more.

The Tierney Sutton Band performs tonight (Sunday) in the final performance of their three night run at Catalina Bar & Grill (323) 466-2210.  Don’t miss it.


Live Jazz: The Johnny Mandel Big Band at Vitello’s

March 19, 2012

By Don Heckman

Vitello’s was packed to the gills Saturday night.  And with good reason.  Johnny Mandel was making one of his rare appearances, leading an assemblage of Southland jazz all-stars in an evening surveying his long, productive career as a composer, arranger and songwriter.

At 86, recovering from hip problems and walking with a cane, Mandel nonetheless was a dynamic bandleader, conducting from a cramped position directly in front of the saxophones, standing between two tables full of guests.   His whimsical sense of humor was switched on, and he introduced many of the pieces with a wry, occasionally sardonic, recollection.

Johnny Mandel

The familiar Mandel items were on full display: “Emily,” “The Shadow of Your Smile,” “Suicide Is Painless” (the theme from M*A*S*H), several selections from his score for the film, I Want To Live. Most featured the band’s many stellar soloists – tenor saxophonists Pete Christlieb and Steve Wilkerson, baritone saxophonist Bob Efford, trombonists Scott Whitfield and Alan Kaplan, trumpeters Bob Summers, Ron King and Carl Saunders, pianist John Campbell, among others..

And there was more, reaching across decades of composing and arranging for films, television, recording and big bands: a hard swinging piece he wrote for the Woody Herman band in the ’40s – “Not Really The Blues”; a bossa nova done for Sergio Mendes: “Cinnamon and Cloves”; a muscular arrangement of drummer Tiny Kahn’s “T.N.T.”; a tune inspired by the Krazy Kat cartoon, written for the Artie Shaw Band.  All of it, individually and in sum, providing a fascinating gallery of musical portraits from an extraordinarily creative career.

Sue Raney

Interestingly, the band didn’t pick up their instruments for one of the evening’s most mesmerizing moments.   With no advance notice, Mandel introduced singer Sue Rany to sing “Where Do You Start?” backed only by Campbell’s quietly intimate piano accompaniment. The song, with music by Mandel and lyrics by Marilyn and Alan Bergman, is a stunning example of lyrical musical/poetic songwriting at it finest.  And so, too, was Raney’s exquisite, story-telling interpretation, capturing the essence of the song’s poignant tale.

Other contributions added to the non-stop pleasures of this memorable musical evening.  Start with Carol Chaikin’s fine lead alto playing, driving Mandel’s richly harmonized saxophone section passages with ease.  Add to that the energetic drive of the rhythm section – with the firm flow of bassist Chuck Berghofer, the energetic drive of drummer Ray Brinker, the Freddie Green-like strumming of guitarist John Chiodini and the all-purpose comps and fills of Campbell.

And don’t forget the collective participation of every member of the Band (including those whose names I haven’t mentioned).  Most are among L.A.’s A-list studio players.  Given an opportunity to play an evening-full of superb music, they not only provided their unerring craftsmanship, they made every note come alive.

No wonder Johnny Mandel was smiling so much.

* * * * *

Johnny Mandel photo by Tony Gieske.

Sue Raney photo by Bob Barry.


Live Jazz: The Tierney Sutton Band at Catalina Bar & Grill

October 2, 2011

By Don Heckman

A Tierney Sutton performance is always a musical adventure, filled with unexpected twists and turns.  Blessed with a warm, pliable voice and a probing musical imagination, she has enhanced her creative explorations by creating a close artistic (and business) relationship with the members of her Tierney Sutton Band – pianist Christian Jacob, drummer Ray Brinker and bassists Kevin Axt and Trey Henry, who usually alternate gigs with the Band.

On Friday night at Catalina Bar & Grill, Sutton took everything up a level, offering the rare opportunity to hear the full Tierney Sutton Band in action, with both Axt and Henry performing in tandem, adding a rich, flowing, ever-fascinating foundation to the music.

The Tierney Sutton Band

Although Sutton’s latest recording, American Road — a stunning tour through classics reaching from “Wayfaring Stranger” to “Summertime” – has just been released, she carefully selected a few songs from the CD’s fascinating program, supplementing them with other, more standard items.  But what she chose provided ample opportunities to experience the pleasures of Sutton and the Sutton Band in action.

“On Broadway” was delivered with a buoyant rhythm underscoring her crisply articulated lyrics.  “Tenderly,” “My Man’s Gone” and “Summertime” revealed Sutton’s way with a ballad, applying the intimacy of her sound and phrasing to utterly convincing musical story-telling.  And her versions of material from Leonard Bernstein’s West Side Story further illuminated the way her unique interpretive style – with its intriguing tendency to occasionally modify pronunciations of words – can bring believable new life to familiar material.  Other tunes — Without A Song” and “The Best Is Yet To Come” — took Sutton into the area of standards with ease and confidence.

All the arrangements – which she carefully described as collective efforts – were both settings and enhancements of songs.  Sutton’s voice was front and center, of course, with the musical framing adding all sorts of intriguing touches: unexpected shifts of rhythm as subtle as the insertion of an off-meter measure in a rhythmic flow; lush reharmonizations; and the stirring interaction of vocal lines with piano, bass and drum soloing.

As I said above, a musical adventure.  And one that is equally present on all of the Tierney Sutton Band recordings.  American Road’s unusual combination of folk and pop standards in an Americana package, enhanced by the TSB’s unique way with a song, is the latest in the group’s three consecutive Grammy-nominated efforts.  If you weren’t fortunate enough to hear her at Catalina’s, don’t miss the recording.

 Also, while we’re talking about Catalina’s, be sure to mark your calendar for Monday, Oct. 17th.  It’s hard to believe it’s happened so quickly, but the world famous jazz venue will be celebrating its 25th anniversary.  No news on the line up yet, but expect it to be a memorable evening.  Check back at our Picks of the Week for details.


Picks of the Week: Sept. 26 – Oct. 2

September 27, 2011

By Don Heckman

Los Angeles

Herbie Hancock

– Sept. 27. (Tuesday)  Opening Night Gala at Disney Hall.  The new season kicks off with a performance of Gershwin’s Rhapsody in Blue, performed by the stellar combination of Herbie Hancock, and the Los Angeles Philharmonic conducted by Gustavo Dudamel.  Also on the program, An American in Paris and the Cuban Overture. Disney Hall.   (323) 850-2000.

– Sept. 27. (Tuesday).  Barbara Morrison Benefit.  Another opportunity to help one of Southland jazz’s greatest jazz vocal treasures in her hour of need.  Morrison’s medical expenses – the result of surgery associated with diabetes – have escalated, and she needs support.  The program of performers is unannounced at the moment.  Check with the club for details.  Vibrato Jazz Grill…etc.   (310) 474-9400.

– Sept. 27. (Tues.)  Emmylou Harris and her Red Dirt Boys.  12-time Grammy winner Harris brings rich expressiveness to everything she sings – whether interpreting other songwriters’ works or her own emotionally illuminating songs.  Also on the program – special guests Patty Griffin and Buddy Miller. The Greek Theatre.

– Sept. 28. (Wed.)  Marilyn Scott.  Veteran singer Scott has moved easily across the boundaries between jazz and pop, creating expressive pleasures wherever she goes.  She performs with Jimmy Haslip, Mitch Forman, Gary Novak and Mike Miller.  Catalina Bar & Grill.  (323) 466-2210.

– Sept. 29. (Thurs.)  “Stormy Weather: The Lena Horne Project”  Mary Wilson of the Supremes applies her elegant vocal skills to songs associated with the legendary actress/singer,  James Gavin narrates material from his Horne biography, accompanied by rare audio and video clips.  A Jazz Bakery Movable Feast.  The Musicians Institute.  (310) 271-9039.

Ravi Shankar

– Sept. 29. (THurs.)  Ravi Shankar.  The pioneer of Indian classical music, Pandit Shankar has been – since the ‘50s – bringing the subtle, complex, but immensely engaging music and rhythms of ragas and talas to Western audiences.  Disney Hall.   (323) 850-2000.

– Sept. 29 – Oct. 1. (Thurs. – Sat.) Tierney Sutton Band. Note that the title is not “Tierney Sutton and her Band.”  Because Sutton’s long term relationship with pianist Christian Jacob, bassists Trey Henry and Kevin Axt and drummer Ray Brinker has been one of complete musical (and practical) togetherness.  The results show up in every expressive note the band plays (and Sutton sings).  The performance celebrates her new recording – American Road, a compelling tour through musical Americana.  Catalina Bar & Grill.  (323) 466-2210.

– Sept. 30. (Fri.)  Bill Cantos. He sings, and plays piano with the kind of subtle support that delights any one who works with him – especially singers. Add to that Cantos’ skill at crafting original songs with the sensitivity and rich lyricism of the Great American Songbook.  He’ll be in the company of his wife — singer/pianist Mari Falcone, bassist Hussain Jiffry and drummer Michael ShapiroVitello’s.    (818) 769-0905.

Esperanza Spalding

– Sept. 30. (Fri.)  Esperanza Spalding. “Chamber Music Society.”   Singer/bassist Spalding is the hottest property in jazz after her 2011 Grammy award for Best New Artist.  But there’s a depth of art in her musicality that reaches well beyond her current visibility.  Still in her twenties. Spalding’s career looks to be long and fulfilling – for her, for her listeners and for jazz.  The Orpheum Theatre.    (877) 677-4386.

– Sept. 30 – Oct. 2. (Fri. – Sun.)  The Angel City Jazz Festival.  On Friday: The Nick Mancini Trio with Otmaro Ruiz and the Edgar Castaneda Trio with Andrea Tierra at Zipper Hall in the Colburn School of Music.  On Saturday: The Pan Afrikan People’s Arkestra, Satoko Fujii & Natsuki Tamura, The Kandinsky Effect and Rudresh Mahanthappa & Samdhi at the Ford Amphitheatre.  On Sunday: For People in Sorrow – an Homage to Alex Cline, and the Roscoe Mitchell Trio at REDCAT.  The Angel City Jazz Festival.

– Oct. 1. (Sat.)  The Strawbs and the Zombies.  Original Zombies members Rod Argent and Colin Blunstone headline the 2011 incarnation of the sixties hit-makers.  The pop-rock Strawbs, who have passed through numerous editions since the sixties are also n the bill. The Canyon Club. (818) 879-5016.

– Oct. 2. (Sun.)  The New Directions Veterans Choir.  Made up of formerly homeless veterans of American military services, the Choir has appeared on America’s Got Talent, at the White House, on YouTube and numerous television shows.  Even more importantly, the members have found the choir to be a vehicle to help them find the help they need.  They are currently recording their first album, produced by veteran singer/arranger/a cappella expert Morgan Ames.    Vitello’s.    (818) 769-0905.

San Francisco

James Carter

– Sept. 30 – Oct. 2. (Fri. – Sun.)  James Carter Organ Trio. Master of a full range of saxophones, Carter sets up in the blues driven environment of the classic jazz organ trio format. Yoshi’s Oakland.    (510) 238-9200.

Seattle

– Sept. 27 – 29. (Tues. – Thurs.)  James Farm.  Joshua Redman, Aaron Parks, Matt Penman, Eric Harland. Redman’s too modest to describe James Farm as an all-star ensemble, but that’s what it is – a quartet made up of four of the contemporary jazz world’s most musically adventurous artists.  Jazz Alley.     (206) 441-9729.

Chicago

– Sept. 29 – Oct. 2. (Thurs. – Sun.)  Eric Reed. Pianist Reed spent some of his growing up years in L.A.  But, after Wynton Marsalis discovered him, while still a teen-ager, his career took off on a rising arc – everyone’s A-list piano player of choice. Jazz Showcase.    (312) 360-0234.

New York

– Sept. 27 – Oct. 1. (Tues. – Sat.)  The Music of Bud PowellEthan Iverson, piano, Tim Hagans, trumpet, Greg Osby, alto saxophone, Joey Baron, drums, Lonnie Plaxico, bass, perform the music of one of bebop’s Olympian figures.  Expect to hear such classics as “Tempus Fuget,” “Un Poco Loco,” “Bouncin’ With Bud” and more. Birdland.   (212) 581-3080.

Daryl Sherman

– Sept. 27. (Tues.) Daryl Sherman.  Gifted singer/pianist Sherman brings wit, lyrical insights and musicality to everything she does.  This time she ushers in Rosh Hashanah with Cab Calloway’s “A Bee Gezindt” (“Abi Gezunt” ).  Don’t Tell Mama.      (212) 757-0788.

– Sept. 28 – Oct. 2. (Wed. – Sun.)  The Coca Cola Generations in Jazz Festival: Gerald Wilson and the Julliard Jazz Orchestra.  The Legacy Suite, with Anthony Wilson and Eric Otis.  Dizzy’s Club Coca Cola.  (212) 258-9800.

– Oct. 2. (Sun.)  Creole Choir of Cuba.  Cuban only begins to describe this musical melting pot of singers/instrumentalists from the Camaguey.  Descendants of Haitians, they have created music rich with Cuban rhythms – the son and salsa – and Creole melodies, underscored by rich African chants and dance movements.  This is their first American tour.  Symphony Space.    (212) 864-5400.

Boston

– Sept. 30 – Oct. 1. (Fri. & Sat.)  Kenny Barron.  The lyrical, imaginative pianist has a resume reaching from Freddie Hubbard and Bobby Hutcherson to Stan Getz and Ella Fitzgerald.  But he’s best heard on his own, when his soaring melodies and pastel harmonies are front and center. Regatta Bar Jazz.    (617) 395-7757.

Miami

– Sept. 30 – Oct. 2.  Gunther Schuller. The full scope of composer/writer/educator/French horn player Schuller is hard to imagine.  His commentaries on jazz, classical music, ragtime and French horn technique have had a powerful influence throughout the music world.  His extensive activities (including several compositions that led the way during the Third Stream era) have earned him such recognitions as a Pulitzer Prize, a MacArthur “genius” award and acknowledgment as an NEA Jazz Master.  Schuller’s long weekend appearance at the University of Miami Frost School of Music includes: Friday: a lecture in Clarke Recital Hall; Sat: a concert featuring Schuller’s Concerto No. 1 for Horn; Sun. The Frost Chamber Players, with Schuller conducting his new composition Quintet for Horn and Strings  Gunther Schuller at the University of Miami.      (305) 284-4940.

London

Roberta Gambarini

– Sept. 27. (Tues.) Roberta Gambarini.  She may have been born in Italy, but Gambarini’s mastery of jazz singing stamps her as a world class original, regardless of origin.  Whether she’s finding the emotional heart of an American Songbook standard or scatting with the most fleet, swinging precision since the salad days of Ella Fitzgerald, she should be heard, at every opportunity.  Ronnie Scott’s.   020 7439 0747.

Tokyo

– Sept. 26 – Oct. 3. (Mon. – Mon.)  Natalie Cole.  Very much Nat “King” Cole’s daughter, Natalie Cole cruises the same eclectic musical waters, a convincing pop artist who has no difficulty dipping into the rhythms of jazz.  Blue Note Tokyo.    03-5485-0088.

Herbie Hancock photo by Faith Frenz.

Esperanza Spalding photo by Tony Gieske.


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