image of Concert ticket

By Myrna Daniels

The heat today is terrible! A kind of heat that suffocates, dries everything up, trees and vegetation wilts. Asphalt on the streets gets soft and there’s not enough pressure in the water lines. This is heat with a vengeance and there’s nothing to do but wait it out. Hydrate!

All we can do is look forward to cooler weather. The days are shorter but it’s still nice to be out and about. The big theaters in the Southland have already scheduled a huge array of top talent to perform at their venues The biggest names from all genres will be gracing the stages with the best in pop, jazz, classical, blues, world beat, the avant garde, Broadway shows, opera, children’s classics and much more. There will be surprises in store with new groups on stage. There truly is something for everyone!

image of Segerstrom Center Concert hall

In Costa Mesa the Segerstrom Center ifor the Performing Arts is ready for an array of performances on their campus, which has Segerstrom Hall, with a capacity for 2,994 guests and large orchestras. There is also the Renee and Henry Segerstrom Concert Hall which seats 1,704 patrons, with a formal dining room and a café. The Samueli Theater is more intimate with 300-seat stadium seating or seating for 320 with cabaret-style tables and seating. The Judy Mohr Theater seats up to 269. The Arts Plaza is perfect for outdoor events, with a capacity of 500-2,000! This space can be configured to accommodate large gatherings, with tents, exhibits, alfresco dining and more.

image of Terrence W. Dwyer

The President of Segerstrom Center for the Arts is Terrence W. Dwyer, who has held his position since April, 2006. His focus has been to continue the artistic excellence of the center. Innovation and technology has created more community participation for all the residents of Orange County. Artistic and educational programs have attracted younger audiences with free or low cost tickets.

Dwyer holds a Masters Degree from the Yale School of Drama and University of Missouri and a B.A. from Notre Dame.


The Segerstrom campus was designed for institutional beauty, with the finest materials. Every detail has been thoughtfully designed for efficientcy; dressing rooms, public spaces for meetings, food service, box offices, etc. It is ready for enjoyment and lasting memories.

The programs for the new season are extensive There truly is something for everyone. Here are a few events to look forward to throughout the new season.

Concert Hall October 7, 2017

Amanda McBroom and Ann Hampton Callaway- “Divalicious” Samueli Theater Oct,5-7, 2017

Marinsky Ballet-Segerstrom Hall October 12-15 2017

Sing Along with The Muppet Movie-Samueli Theater October 14-15, 2017

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Tango Buenos Aires-Renee and Henry Segerstrom Concert Hall November 18-19, 2017

American Ballet Theatre: The Nutcracker-Segerstrom Hall December 7-17, 2017

Dublin Irish Dance-Segerstrom Hall February 24-25, 2018

The Book of Mormon-Segerstrom Hall March 20-April 1, 2018

Chick Corea & Jazz at Lincoln Center- Renee and Henry Segerstrom Concert Hall March 25, 2018

Alvin Ailey-Segerstrom Hall April 19-22, 2018

Bill Charlap-Somewhere:The Songs of Leonard Bernstein-Samueli Thater April 28, 2018

Hamilton-Segerstrom Hall May 8-27,2018

On Your Feet Segerstrom Hall August 21-September 2, 2018

There is so much more to enjoy, all year long. For more information:
600 Town Center Drive Costa Mesa, Ca 92626.For info/tix (714) 556-2121.….SCFTA,org………





Photo of Jose James
by Gary Fukushima
image of Sax insturment

We are in the throes of the ever-rising temperatures of the Los Angeles summer swoon, when many jazz musicians (and wealthy jazz patrons) escape the heat by heading out of town for jazz festivals in exotic European locales such as Montreux, Umbria, Vienna, Copenhagen and Amsterdam. Yet those without a touring gig, passport or cash can still have a first-rate (albeit sweaty) festival experience right in our little hometown of 4 million people.

The two signature events of the summer are the (already concluded) Playboy Jazz Festival and the Central Aveune Jazz Festival, with the Angel City Jazz Festival looming in the fall. In between those behemoths are a number of ongoing outdoor series, including the excellent shows at Grand Performances in Downtown L.A., Friday nights at the L.A. Museum of Contemporary Art (LACMA), the JazzPOP series at the Hammer Museum in Westwood, and the Summer Jazz Nights at Hollywood and Highland.

The latter series is ensconced in perhaps the most popular tourist destination in California, the plaza outside the theater where movie stars receive Oscars, and just a few steps away from Grauman's Chinese Theater in the heart of Hollywood. Many current and future jazz stars have graced the outdoor stage, including latin jazz icons Pete Escovedo and Poncho Sanchez, organist Joey DeFrancesco, the late legendary pianist Cedar Walton, and a litany of impressive saxophonists, including Justo Almario, Bob Reynolds, and Kamasi Washington.

Washington has become one of the major stories of jazz in recent years, becoming the poster-man-child for Rolling Stone, Billboard, Pitchfork, and L.A. Weekly (which admits to, by one of their jazz writers, perhaps a little hometown bias in including the tenor saxophonist on their list of the greatest saxophonists of all time). All the good press has had a halo effect in highlighting the emerging youth movement in jazz here in Los Angeles, buoyed by the combination of burgeoning homegrown talent choosing to remain in the city rather than flee to New York, and the influx of outstanding players from New York, Boston, Chicago and elsewhere, looking to make their fortune and legacy in the Wild West.

image of Josh Johnson

One such émigré is Chicago native and alto saxophonist Josh Johnson, who moved to Los Angeles five years ago when he was selected to be one of seven musicians from around the world to join the Thelonious Monk Institute of Jazz Performance, based at the Herb Alpert School of Music at UCLA. In his time with TMI, Johnson travelled the world, performing with Herbie Hancock, Wayne Shorter, and Billy Childs among others, and upon graduating from the Institute, he continued his rapid rise to the surface of the bubbling jazz scene in L.A., playing with Benny Maupin, Billy Childs, Miguel Atwood-Ferguson, Mark DeClive-Lowe, and Jeff Parker. He is often on tour with trumpeter and fellow Chicagoan Marquis Hill, winner of the 2014 Thelonious Monk International Jazz Competition.

For a young man in a crowded field of hot young saxophonists, Josh Johnson is as cool as they come. He enters into many a solo with careful awareness, doling out beautifully crafted melodies in spacious, unpredictable portions. It’s enough to lull one into a false sense of secure reverie, unaware of the gradual, inexorable rise of intensity and heat until it’s too late, like a frog cooked to death in a slowly-heated pot of water. Johnson’s tremendous virtuosity always remains in servitude to the long arc of artistic justice. He makes you wait for it but it’s so worth it.

On Tuesday, Johnson graces the stage at Hollywood and Highland with his quartet, featuring pianist (and L.A.’s favorite son) Josh Nelson, Australian bassist Anna Butterss, and drummer Christian Euman, who like Johnson also hails from Chicago and is an alumni of the Thelonious Monk Institute.

Johnson was kind enough to answer a few questions, which he did with insight and thoughtfulness, very much in the manner by which he plays saxophone. Following is a transcript of the interview, lightly edited for clarity:

Gary Fukushima: Can you talk a little bit about your initial exposure to jazz, and how you ultimately got involved with the alto saxophone?

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Johnson: I picked up the saxophone around age 10, and shortly after I remember asking my mom for some jazz recordings for Christmas. She and my dad got me a stack of about probably 6 or 7 CD’s, 5 of which I didn't really get into. One I did get into immediately was Lester Swings, a Verve compilation of a handful of Lester Young recordings. The other was the Monk compilation Genius of Modern Music, Vol. 1.

I was drawn to the beauty of Lester's sound and his seemingly quiet, clever but cool attitude. His playing felt as direct as someone singing or speaking to me, and that deepened my curiosity. Saxophone sound is so deeply personal, and the range of feeling that can be expressed along with the mystery and beauty drew me in. There's a quote I love from a repairman named Matt Stohrer, talking about how the sound of a saxophone is the sound a cone of air vibrating. "So the saxophone is not the sound—the saxophone is the thing we wrap around the sound. It is the interface we need—with our two hands, ten fingers, mouth, lungs—to interact with this cone of air. Our abilities and limitations define it…it is the relationship between ourselves and the laws of nature, made visible.”

L.A. Jazz:Who were/are your mentors in shaping your musical biography? How did they impact you?

Johnson: There are so many people who have been willing to share their stories, wisdom, and experience with me, whether I was ready for it at the time or not. David Baker taught me so much about persistence, searching, giving, being yourself in all things, and navigating the world as a young black man. My friend and kindred spirit Jeff Parker has been a mentor to me over the past 10 years. He has broadened my perspective, both musically and otherwise, and I've looked up to him since I first heard his music in the early 2000’s. There are so many records I wouldn't have heard if I hadn't been lead by JP's signature question, "Man, have you heard this record…?”. I got to spend time with Wayne Shorter when I moved to LA for grad school, an experience which was invaluable to me. Wayne taught me about the width of imagination, expressing the entire range of emotion in music, playing beyond the instrument, and living and playing with deep intention.

L.A. Jazz:How would you describe your approach to improvising?

Johnson: This is a really difficult question to answer. One idea that has been fascinating me over the past 3-4 years is fluidity. I've always been drawn to the freedom with which great musicians perform ballads. To me there's a sort of multidimensional beauty and fluidity, the play of heart and intellect happening all at once. I've been interested in figuring out how to get that feeling and freedom in every context.

L.A. Jazz:What are the projects you are involved with currently, and what are some things we can look forward to?

Johnson: There are many things coming up which I'm super excited about. Holophonor, a band I co-lead, has a new record called Light Magnet which will be out later this fall on Alpha Pup/Worldwide Galaxy. The record was produced by Wayne Shorter, and after a bit of a journey we're happy to have found a home for it. I'm heading to New York right after this performance to perform Miguel Atwood-Ferguson's Suite For Ma Dukes at Damrosch Park. (Tenor saxophonist) Daniel Rotem and I did a standards record that should be out later this year. I'll be heading to Japan with Jeff Parker & The New Breed in August, and to Europe with Marquis Hill Blacktet in October. Joshua White and Josh Nelson both have records coming out in the fall, both of which I was excited to play on. Last but not least, I'm working on a bunch of new music for a record to be recorded later this year.