Funk/soul queen and 10-time Grammy-winner Chaka Khan, and pop/gospel/rock dynamo and five-time Grammy-winner Michael McDonald brought their summer tour to the Hollywood Bowl. The artists each have extensive catalogues of songs and shrewdly selected the ones best suited for the occasion, basically their hits. Khan who opened the concert stated, “We going to do songs from the ‘70s and the ‘80s. I think that’s enough,” to get the crowd laughing. With her scorching nonet that included backup singers, the larger than life co-headliner reeled off funk/rocking “This is My Life” and “Do You Love The Feeling.” When her guitarist sang through a voder (voice synthesizer) initially the audience went crazy because they knew it would lead to “Tell Me Something Good” one of Khan (and Rufus’) most popular funk rocking songs.
From there she and band settled into mellower R&B flavored tunes beginning with “Everlasting Love” bolstered by the vocalist’s signature over the top chops. Hit “Sweet Thang” revved the up again as Khan soared vocally. For an instrumental interlude bassist/Musical Director Melvin Davis wailed away on his eight-string axe, along with the guitarist and backup singers soloing. As a bonus McDonald joined her to sing their megahit “You Belong to Me.” Khan’s hits “I’m Every Woman” and “Ain’t Nobody” finished the set that could have easily carried on for another hour.
McDonald’s set with his septet, including one backup singer was comparatively subdued beginning with an easy-flowing and soulful version of “I Keep Forgettin’ (Every Time You’re Near)” accented with a saxophone solo. The bandleader made up for the dynamics difference with his signature R&B styled singing and gospel piano playing for “Yah Mo B There” that he dedicated to recently departed vocalist/friend, James Ingram who he originally recorded the song with. “Sweet Freedom” was equally soulful and included a scorching guitar solo and saxophone choruses.
Unlike Khan, McDonald didn’t stay in the past and also showcased new song, “Just Strong Enough” that was bluesy pop with guitar, piano, sax and signature vocal touches. For more variety backup singer Drea Renee joined the bandleader for pop hit “On My Own” that he originally recorded with Patti Labelle to charm the crowd. The vocalist’s former group, the Doobie Brothers soulful song “Real Love” was in the same range and garnered with saxophone touches and also their hit “Minute by Minute.” Additionally, McDonald resurfaced “Ain’t no Mountain High Enough” and “Ain’t Nothing Like The Real Thing” from his Motown tribute album. Returning to his own material was mega hit “What a Fool Believes” to finish the set. For the encore Khan joined the band to super soulfully do immortal Marvin Gaye classic “What Going on” with the band jamming away to send the audience into the stratosphere, along with the Doobie Brothers’ “Taking it to The Streets.”
Santa Barbara Acoustic Music Association presents SBAcoustic, a highly anticipated celebratory series beginning September 14 with the opening weekend of live international acoustic music concerts, guitar workshops, and artisanal guitar show at the New Vic Theatre. SBAcoustic continues with musically diverse live music concerts through December 14 at downtown Santa Barbara venues: The Wooden Hall Concerts at the Alhecama Theatre, the Lobero Theatre and SOhO Restaurant & Music Club.
SBAcoustic Opening Weekend:
Sept 14: Artisanal Guitar Show (free with evening’s concert ticket) 2-5p.m. & 6:30-7:30p.m.
Meet the Luthiers who create fine handmade steel string, Nylon & Slide Guitars, Ukes & Resonators. Featuring Greg Brandt, Monica Esparza, Frank Falbo, Isaac Jang, Larrivee Guitars, Maudal Musical Machines, OiUkes, Phoenix Guitars and Kathy Wingert at the New Vic Theatre.
Sept 14: Alex de Grassi (steel) & Andrew York (nylon); 7:30 p.m.; New Vic Theatre
Acoustic guitar virtuoso and innovator Alex de Grassi joins with Grammy-winning classical and jazz guitarist Andrew York to fuse the sounds and traditions of steel and nylon into a unique duo program.
Sept 15: Guitar Player Workshops at The Wooden Hall at Alhecama Theatre
Guitar Player Workshops: Free to music students and teachers through a generous sponsorship by the Santa Barbara Bowl Foundation. This is a rare opportunity to spend time with and learn from three of the world’s great guitarist. Its is highly recommended to attend their concerts in order to fully appreciate their music.
11:00 a.m.: The Orchestrated 3D Sound with Alex DeGrassi
1:00 p.m.: Interactive Workshop with Andrew York
3:00 p.m.: Sophistication in the Blues with Carl Verheyen
Sept 15: Blues from my Front Porch with Carl Verheyen & Dave Marotta; 7:30 p.m.; The Wooden Hall Concerts at the Alhecama Theatre
In his 40-plus years of playing guitar, Carl Verheyen has created a wildly successful, multi-faceted career. He is a critically acclaimed musician, vocalist, songwriter, arranger, producer and educator. He was the lead guitar for SuperTramp and has played on hundreds of records, and soundtracks. In this special intimate concert for SBAcoustic, Carl and Dave will treat you to their favorite Front Porch Blues.
Sept 21: Smokin’ Hot Gypsy Jazz & More with Smith, Stephan & Hoffman; 7:30 p.m.; The Wooden Hall Concerts at the Alhecama Theatre
Sept 25: Past Present & Future with Al Di Meola; 8p.m.; Lobero Theatre
Sep 26: Flamenco Arts Festival Opening Night with Andres Vadin Project; 7:30 p.m.; Lobero Theatre
Sept 27 and 29: Dance and Music Workshops; various times; Santa Barbara Dance Arts
Sept 28: Red Carpet Gala with Eduardo Guerrero; 7:30 p.m.; Lobero Theatre
For details on all four days of the Flamenco Arts Festival and ticket information including a special anniversary discount package, visit flamencoarts.org
SBAcoustic continues with over 20 live music concerts through December 14
Wooden Hall Concerts at the Alhecama Theatre
914 Santa Barbara Street
33 East Canon Perdido Street
SOhO Restaurant & Music Club
1221 State Street
The New Vic
33 W. Victoria Street
Since the early ’90s bassist/vocalist Meshell Ndegeocello has always been a difficult artist to pinpoint or describe. But several things are certain, whatever she does will be illuminating, insightful, unique and a little soulful. At the John Anson Ford Theatre she performed with her band consisting of Chris Bruce-guitar, Jebin Bruno-keyboards and Abe Rounds-drums. “Wasted Time” went back to the late ‘90s and was edgy and atmospheric, yet also intimate and soulful. Somewhat in the same mode, with more emphasis on the bandleader’s soulful singing and bass playing was “Sometimes it Snows in April” from her latest CD Ventriloquism. Ndegeocello delightfully surprised the audience by serving up her breezy and South African rhythm tinged version of Leonard Cohen’s folk classic “Suzanne.” It was mostly supported by Bruce’s acoustic guitar playing, along with Bruno on piano to draw strong crowd response.
Afterwards the singer/bassist went in a pop groove direction with “I Wonder If I Take You Home” and “Nite and Day” both from the latest album that featured her singing sweetly and the band lightly jamming. By this time, Ndegeocello who formerly lived in LA and now resides in New York, had solidly connected with the audience and became more daring with her song selection. Thermin-accented sounding and moderately rocking “Andromeda & The Milky Way” showcased strong singing from the bassist, while “Forget My Name” was elusive and ambient, but also soulful.
Alternately, “Tender Love” was a soul/folk exploration, similar to Sade and India.Are, and Sly And The Family Stone’s “Sing a Simple Song” was done 21st century style featuring Ndegeocello’s band singing that thrilled the audience. For a total surprise George Clinton’s rocking funk classic “Atomic Dog (2017),” also on the new CD was served up with spacey touches that included rocking jamming and soulful band singing. As would be expected the audience want more, and for the encore neo soul “Good Day Bad” and Nine Simone’s “Four Women” with sparse instrumentation were hauntingly performed.
Reggae Night XVIII at the Hollywood Bowl featured none other than Damian ‘Jr. Gong’ Marley, the youngest son of icon Bob Marley. His music is a bit different than his father’s and a heavy mixture of dancehall and hip-hop, with roots reggae. Additionally, the youngest Marley has worked with hip-hop stars such as Snoop Dog, Nas, and Jay-Z, along with pop hit-makers Gwen Stefani, Bruno Mars and Mariah Carey. Overall, Damian’s appeal reaches beyond reggae, but still maintains a strong Rasta connection. His show opened with a video montage honoring Haile Selassie, the Emperor of Ethiopia between 1930 and 1974, who many consider Rastafarian deity and “the second coming of Jesus Christ.
Musically, Marley supported by a nine-piece band that even included a flagman got underway with dancehall/hip-hop jam “Here We Go” from his latest recording Stony Hill to fire up the audience. Fast chanting and a driving beat propelled “Set Up Shop” kept the energy up. Newer songs “Upholstery,” “Hey Girl,” soulful reggae rapping “Beautiful” and “Affairs of The Heart” with the band stretching out exhibited the “lover man” side of the reggae star. “More Justice” slowed things down some and was roots oriented with the backup singers and audience echoing the chorus. However, equally mellow “Medication” drew resounding crowd reaction as Marley talked about California being the “spearhead” of the “cannabis revolution” and tied it in with corresponding chanting and rapping.
Not to be forgotten were some of his legendary father’s beloved songs such as “Rastaman Vibration,” “Exodus,” and “Is This Love,” along encore selections “Get up Standup” and “Could You Be Loved” to garner a very enthusiastic standing ovation.
The Third World sextet who were close to celebrating 46t years together as a group showcased their pop-reggae hits such as best-known “Now That We Found Love,” “Reggae Ambassador” and crowd favorite, classically/opera sung “Time to Say Goodbye” by Richard Dallie. Sadly, upcoming dancehall oriented Kabaka Pyramid, also a sextet, arrived late due to flight complications. They only played for nine minutes, doing a medley of songs that included “Reggae Music.”
Although widely known for her extraordinary soprano saxophone and clarinet playing in jazz settings, Anat Cohen over the years has developed an affinity for Brazilian choro and samba music. She, with seven-string guitarist Marcello Gonçalves, at the Sam First Bar by LAX, performed pieces from their Grammy-nominated, Outra Coisa (the music of Moacir Santos). Santos was a renowned Brazilian arranger/composer/multi-instrumentalist/educator who innovated the music of his homeland during the ’40s, ‘50s and ‘60s. He afterwards came to Los Angeles to be part of Henry Mancini’s team, and was also a solo performer.
In performance, Goncalves superbly translate Santos’ big band parts into guitar rhythm layers, textures and occasional percussion, while Cohen adroitly weaved in and out on clarinet, for the melody and lead. Thematic “Coisa Nº 6” led off the set and showcased the incredible seemingly easy going interaction between the musicians. Contrarily, “Coisa Nº 1” was livelier, yet also possessed a variety of rhythms and moods, with Cohen soloing strongly. She opened “Coisa Nº 5” fierily and set the stage for intense interplay with Goncalves that also included quiet interludes.
For variety the title piece had a bit of a classical and Parisian flair combined with zesty South American sensibilities. “Coisa Nº 10” on the other hand was thoroughly Brazilian and featured impressive fretwork from Goncalves. Concluding the first-paced set the duo played Milton Nascimento’s folky “Baü Metóro” and Cohen’s lively choro original “Waiting For Amalia (her niece).” For more info go to: www.samfirstbar.com and www.anatcohen.com
Latin Rock Alternative band Kinky brought their high-energy electronic dance music show and traditional ranchero to the John Anson Ford Theatre and literally rocked the house. The 20-year old band made up of Gilberto Cerezo-vocalist/guitarist, Ulises Lozano-keyboardist/programmer, Carlos Chairez-guitarist, Omar Gongora-drums and Cesar Plieg-bass, mixed in newer songs from the 2017 CD Nada Vale Mas Que Tu and older material. Dance grooving “Presidente,” possibly directed to Trump got the crowd riled up and reverberated the amphitheatre. “Ejercicio #16” with simulated horns was bust-out dance tune and included accordion soloing.
On the other hand, “Te Vas” was similarly structured and a straight groove with all of the band singing the chorus. “Después Del After” though was rocking with touches of ‘80s Clash and had the crowd dancing. The party continued with both edgier and pop numbers mixed in to keep the audience engaged up to the close of the show. Mexican Institute of Sound aka DJ Camilo Lara was the opening act and created a stimulating mix of traditional rancheros, electronica drum & bass, percussion, horns and Latin pop bound together with chill cross fades.
The Gypsy Kings now a band that’s been together for over 25 years made their somewhat annual sojourn to Southern California for two performances that essentially are celebrations at the Hollywood Bowl. The 11-piece band led by main vocalist Nicholas Reyes and principal guitarist Tonino Ballardo perpetuated the music of their Spanish Romani culture that’s commonly called gypsy. The group throughout its history, that includes 20 million records sold and a Grammy, has expanded into reggae, Brazilian, salsa and classic rock, while maintaining their original structure.
Significantly, the group resists theorizing and just plays and sings zestfully, as their fans have become accustomed to. With a foundation of appealing multi-guitar fret mastery and percussion influenced by flamenco and Romani techniques, the ensemble performed their international hits such as “Baila Me,” “Bem, bem Maria,” “Senorita” and “Bamboléo.” Songs such as “Djobi Djoba” and “Volare” incited the audience to chant along, while rock classic “Hotel California” sung in English and Spanish nearly caused pandemonium.
Coed East Los Angeles Las Cafeteras opened the concert, refreshingly celebrating Afro-Mexican music from Vera Cruz that included traces of hip-hop, reggae, folk, rock and Motown. Their version of Woody Guthrie’s “This Land is Your Land” was imaginative and high-spirited, which surprised and awakened the audience.
Guitarist Pedro Martins and bassist Michael Pipoquinha, both from Brazil, are fast-rising stars on their country’s music scene and also internationally. The musicians who have thriving solo careers made their Los Angeles debut as a duo at the Blue Whale that was presented by Vera’s Heartbeat. Martins and Pipoquinha first met at the Choro & Jazz Festival in Jericoacara, an incredible beach in Ceará, a west coast Brazilian state. Since then they have played together intermittently.
Martins, additionally a singer and keyboardist, won the 2015 Socar Guitar Competition at the 49th Montreux Jazz Festival where renowned guitarist Kurt Rosenwinkel served as a judge. The guitarists bonded afterwards, and worked together on Rosenwinkel’s 2017 release Caipi and also on the Brazilian’s second CD VOX, released earlier this year. Furthermore this month, September 2019 Martins will perform at Eric Clapton’s prestigious Crossroads Guitar Festival in Dallas with Daniel Santiago. They recorded their unscripted instrumental album Simbiose in 2015, and impressed Clapton so much that he invited them to his festival. Their appearance marks the first time Brazilian music has been featured there.
Pipoquinha whose first instrument was guitar applies its sensibilities to playing bass. At 13, he became a Youtube sensation due to the popularity of his homemade videos, inspired by Brazilian northeastern rhythms, and bass legends Jaco Pastorius and Nico Assumpção. As a result of that he was interviewed on one of Brazil’s biggest TV shows, Domingão do Faustão. In 2014 he recorded his first album, Cearensinho, a tribute to his home state produced by one of his idols, bassist Arthur Maia. In 2015, he went to Europe for the first time to perform with the heavyweight Big Band WDR in Germany on the We’ve Got Talent program. In 2018, he garnered more notoriety during a tribute to Pastorius with the Latvian Radio Big Band at the Festival Riga Jazz Stage. And this year the bassist released his second album, Lua. It features performances by Brazilian masters Yamandu Costa and Toninho Horta, who wrote a song for the album.
In performance the duo masterfully served up choro classics from their respective Brazilian states (Martins- Minas Gerais and Pipoquinha- Ceará), along with originals. “A Vida Tem Dessas Coisas” gave the audience a glimpse of the musicians’ sound as they dazzled with classy interactions and astounding solos. From a more relaxed perspective, “Olhos Nos Olhos” was ballad-like and spotlighted Martins’ caressing playing as Pipoquinha also soloed and injected soft bass runs. The bassist came to forefront for Egberto Gismonti’s “Loro,” and also “Azeitona” with funk rhythms mixed, while the guitar was more inclined to play with a traditional, yet tasty approach. “Que Sera Que Será” was a recognizable melodic classic that beautifully flowed along and was adorned with exquisite solos. Much more tasteful music followed, including a haunting version of “You’re My Everything” featuring Genevieve Atardi on vocals. For more info go to: www.performingartslive.com, www.bluewhalemusic.com and Facebook.
A day later, another Brazilian music fête occurred. It was at the Hollywood Bowl, headlined by Ivan Lins and Friends: A Journey to Brazil and Lee Ritenour’s World of Brazil. Singer/songwriter/composer and keyboardist Lins was supported by a 13-piece brass orchestra, and his core band with Gary Novak-drums, Andy Ezrin-piano and Francisco Fatturoso-bass, all conducted by John Beasley, who also occasionally played piano. Lins began playing and singing funk treated “Daquilo Que eu Sei” with just his group, that was jaggedly embellished by guest guitarist Romero Lubambo. The renowned songwriter and composer settled down afterwards to perform “The Island” one of his most popular ballads.
Among Lins’ friends were the New York Voices. The coed vocal quartet joined Lins and a full assembly of musicians led by Beasley for “Answered Prayers” that was overwrought with vocal harmonies and brass choruses to excite the audience. From there, the singers continued with only piano doing the singer/songwriter/composer/keyboardist’s most covered song “Love Dance.” With the return of the orchestra, NYV did a scatting chorus for instrumental “O Passarinho Cantou.”
Afterwards, Dianne Reeves joined Lins to arouse the audience and get him a little worked up too, especially as they paid tribute to Brazilian legends Antônio Carlos Jobim and João Gilberto with classic “How Insensitive,” and also rendered funk driven “She Walks This Earth.” Without Reeves, similarly sounding “Dinorah, Dinorah” and bossa-grooving “Ai, Ai, Ai, Ai, Ai” with NYV rounded out the program. In its final moments members of Ritenour’s band and Reeves joined in.
The guitarist’s group, comprised of his son Wes-drums and Abraham Loboriel-bass, with special guests Dave Grusin-keyboards, Luciana Souza-vocals, Paulinho Da Costa-percussion, Chico Pinheiro-guitar/vocals and Grégoire Maret-harmonica revisited songs from compilations A Twist of Jobim (1997) and Ritenour’s World of Brazil (2005). Jobim’s “Stone Flower” got things underway and was enhanced by maestro Grusin’s touches, along with Maret, Souza and the bandleader’s contributions.
Stunningly beautiful “Children’s Games” featured the guitarists and pianist interweaving, while the vocalist and harmonica player sweetly accented. Grusin and Souza also came together to do enchanting versions of “No More Blues” and “The Girl From Ipanema.” Additionally, Pinheiro and Souza sang harmoniously together in Portuguese. For the set closer “Aguas de Marco,” things livened up considerably, first with guitar flurries, then later with crowd pleasing percussive, bass and harmonica soloing.
Brazilian Nites in conjuction with LiveNation present “Carnaval da Bahia comes to Los Angeles” featuring the Queen of Axé, Daniela Mercury at the Regent Theatre in DTLA.
Be prepared to dance, smile and sing with Mercury and her pulsating drums of Bahia on this US tour. She is a force of nature. In fact, Mercury is known as “furacão” (hurricane), due to her powerful voice and seemingly endless energy on stage, singing and dancing for hours without losing her breath. She is also known as the Queen of Axé, the percussive and irresistible genre that emerged out of Bahia in the early 1990’s, which made her a superstar in Brazil and then around the world. Now, the Latin GRAMMYs winner and multi-platinum selling artist comes to the US with her full band to perform all her hits like “Canto da Cidade”, “Rapunzel”, “Nobre Vagabundo”, “Swing da Cor”, “Ilê PérolaNegra”, “Maimbê Dandá”, and also more recent hits like “Banzeiro” (2018 Best Carnival song in Bahia) and “Proibido o Carnaval”, released earlier this year.
Opening act: Bloco Obini is an all Queens drum ensemble founded by percussionist virtuoso Kahlil Cummings. Using art to speak to the times, Bloco Obini performs Afro Brazilian bloco drumming, with uplifting songs affirming that we are all royalty, and come from Kings and Queens. Bloco Obini represents the empowerment of not only women, but an entire generation, using the drum as a spiritual weapon to heal and educate, serving communities locally and abroad. “Drum and dance making life sweet is our occupation”
Also part of the Bahian Carnaval are the stunning L.A. Samba Dancersplus Capoeira Batuque (the acrobatic martial arts dance) lead by Mestre Amen Santos.
Thursday September 12th @ Regent Theatre DTLA
The Regent Theater
448 S. Main St.
Los Angeles, CA 90013
LA-Based Kala Koa Entertainment Presents the 2019 Los Angeles International Ukulele Festival, celebrating the little four-stringed wonder! Celebrating the little four-stringed wonder – the Ukulele – which has been captivating hearts and bringing musical joy into people’s lives for over 100 years, the 2019 Los Angeles International Ukulele Festival presented by Kala Koa Entertainment, is an exciting day-long event dedicated to exploring the musical versatility of the ukulele for the experienced ukulele player, the occasional strummer, or simply the curious spectator. This unique, family-friendly Festival includes workshops for all levels of playing ability to work on technique or simply learn to play, and live all-star performances by some of today’s most popular ukulele players (included in admission).
The 2019 Los Angeles International Ukulele Festival also hosts a Ukulele Marketplace, located in the Entry Plaza of the Torrance Cultural Arts Center. Free and open to the public, attendees can browse boutique Ukulele builders, entry level and budget friendly instruments, fun accessories and ukuleles handcrafted in Hawaii, as well as open mic performances. In addition, authentic island style shave ice and food available for purchase.
Artists and Workshop Instructors include: Grammy winner Bakithi Kumalo (bass player for Paul Simon); Jim & Liz Beloff (International ukulele publishers); Herb Ohta, Jr.; Bryan Tolentino; Craig Chee; Sarah Maisel; Mitch Chang; Musical Mama; Uke Adventure Around the World; Christopher Davis-Shannon; and many more.
Bringing blues masters the likes of Charlie Musselwhite, Jimmie Vaughan and Buddy Guy together at the Hollywood Bowl is probably about as close as the world famous venue will ever get to having a blues festival. Harmonica wizard Musselwhite, who has performed at the Bowl many times before, expressed gratitude for having the opportunity. He quickly got down to business with a fast-paced set of good-time blues standards and originals with his quartet. Notable songs were “Wild, Wild Woman,” “Long Leg Woman,” fast shuffling “She May Be Your Woman” and “Bad Boy,” along with “Strange Land” featuring him and guitarist Matt Stubs wailing away.
Guy, an eight-time Grammy-winner and Rock And Roll Hall of Famer, alternately was full of audacity. With his hard-driving band he wailed away intensely, sang mournfully and cursed profusely. The audience loved ever second of it, even when the guitarist/singer gave them a hard time for not getting the words right. Songs like scornful “I Got The Blues,” slow burning and hard jamming “Hootchie Cootchie Man” and funky, “I Just Want to Make Love to You” with the crowd singing the chorus and band soloing were very mesmerizing. For some comic relief the blues master did a snippet of Bobby Rush’s “Chicken Head,” and his drummer Tom Hambridge’s “Cognac” to draw laughs and strong applause.
Al Green’s “Take Me to The River” displayed a soulful side of Guy who couldn’t resist adding rubbing effects and afterwards segued into Johnny Taylor’s “Who’s Making Love” and “Someone Else is Sneaking in” that were full of beyond belief guitar playing. During the closing moments of the show Guy who just sang, did a jam with guitarists Vaughan, Kingfish, a promising young player he’s mentoring, and son Greg Guy (played his father’s guitar) for BB King’s classic “The Thrill is Gone” with other songs mixed in. With the passing of King, Guy has proven many times over he is the rightful “King of The Blues” successor.
In between Guy and Musselwhite, Vaughan with the largest band of the three, an octet with saxophone, trumpet and trombone, played and sang Texas and vintage R&B styled blues. The bandleader didn’t say too much and mostly let the music do the talking. His standout songs were Baby Please Come Home title track of his new CD, “No One to Talk to (But the Blues)” (also new), “White Boots,” classic “Texas Flood” and “(Do) The Crawl,” along with rocking jazz-blues jamming.
Now entering its ninth year, the AimLoan.com San Diego Blues Festival is living up to its mission to provide great blues at an affordable price, and raise money to support the battle against hunger in their community. With names such as Mavis Staples, Charlie Musselwhite, James Cotton, Billy Gibbons, Los Lobos, Eric Burdon & the Animals, Elvin Bishop and Booker T. Jones, many Blues Hall of Fame and Rock And Roll Hall of Fame they generated more than $950,000 in profit for the Jacobs & Cushman San Diego Food Bank. In addition, the annual food drive at the festival has received 14 tons of donations.
Chris James and Patrick Rynn
Black Market III
San Diego Blues Festival
12:00 PM to 8:00 PM
Embarcadero Marina Park North (downtown San Diego waterfront)
400 Kettner Boulevard
San Diego, CA, 92101
The KJazz Blues Bash is back Friday, September 20th at 8pm, featuring GRAMMY®-nominated guitarist Robben Ford, Sugaray Rayford, and Deb Ryder.
Robben Ford is one of the premier electric guitarists today, particularly known for his blues playing, as well as his ability to be comfortable in a variety of musical contexts. A five-time GRAMMY® nominee, he has played with artists as diverse as Joni Mitchell, Jimmy Witherspoon, Miles Davis, George Harrison, Phil Lesh, Bonnie Raitt, Michael McDonald, Bob Dylan, John Mayall, Greg Allman, John Scofield, Susan Tedeschi, Keb Mo, Larry Carlton, Mavis Staples, Brad Paisley, and many others.
Sugaray Rayford is an American soul blues singer and songwriter. He has released six albums to date and was nominated for two Blues Music Awards in 2019. In May of 2011, Sugaray became one of the lead vocalists for the Mannish Boys. He sang lead vocals on 9 songs on Double Dynamite, the Mannish Boys CD that won Best Traditional Blues Album in May 2013 at the Blues Music Awards. His first solo CD Blind Alley was a self-release in 2010, which garnered critical acclaim. His second solo CD Dangerous in 2013 debuted at # 2 on Blues Debut Chart, #6 on the Roots Music Chart and #2 on The Living Blues Chart.
Deb Ryder’s vocals have been described as big, devastatingly powerful, whiskey soaked, a force of nature, reminiscent of her major influences Etta James and Koko Taylor. Deb’s stage presence is captivating while her amazing vocals take the audience to new levels of enjoyment. Her standout performances have garnered awards and critical acclaim at festivals and venues throughout the US, Canada and Europe.
KKJZ Blues Bash
Wilshire Ebell Theatre
4401 W 8th St
Los Angeles, CA 90005
At 93 and definitely still ticking, Tony Bennett is one of the seven musical wonders of the world (not sure who the other six are). At the Hollywood Bowl the dapper nonagenarian, supported by Tom Ranier-Music Director/piano, Marshall Wood-bass, Gray Sargent-guitar and Harold Jones-drums, easily sang a couple books of songs without reading lyrics and only briefly forgetting one song. Otherwise, it was pretty smooth sailing for the icon, who drew a near-capacity house with a standing ovation when starting. “Watch What Happens” got the party started and in fine fashion continued with “They All Laughed.” Torchy ballads in the form of “This All I Ask,” “In My Solitude” “It Amazes Me” appeared early in the show to gleam the hearts of listeners.
Bennett smartly let the band work out and solo for upbeat classics “I Got Rhythm,” “I’m Old Fashioned” and “Steppin’ Out” to further delight the crowd. The veteran showed that he could also swing with the quartet for “Our Love is Here to Stay,” “Just in Time,” “The Good Life” and “The Way You Look” that included a flub by him to draw chuckles from the audience. Bennett though, a true master, stayed cool and kept on singing to eventually right himself and end triumphantly. Of course, everyone was patiently waiting for the master crooner’s all time classic “I Left My Heart in San Francisco.” It was beautifully rendered during the last 12 minutes of the show and expectantly drew an enthusiastic standing ovation. The singer continued for an encore doing lightly swinging “Who Cares” and a super emotional version of “Fly Me to The Moon” that set the audience into orbit. Antonia Bennett did a quick 17-minute set prior to her father that was highlighted by her versions of “Your a Lucky Guy” and “Someone to Watch Over Me.”
Piano Spheres, founded in 1994 by pianist Leonard Stein to present the best of contemporary piano music and rarely heard treasures from centuries past, showcased Mike Lang at Zipper Hall. Joining Lang for the performance was acoustic and electric bassist/singer Mike Valerio whose talent encompasses film scoring, classical performances, jazz sessions and more, along with seminal classic rock studio drummer Jim Keltner. The interesting pairing was well suited for Lang whose diverse background spans jazz, classical, pop, rock and film scoring. To a nearly full capacity house the pianist began playing a new atonal improvised piece. With full trio Herbie Hancock’s “Dolphin Dance” flourished as the bandleader played intensely, while also spotlighting Valerio for a flowing solo. Lang in the ‘90s worked for renowned composer/arranger Henry Mancini and as homage recorded Days of Wine and Roses: The Classic Songs of Henry Mancini. From it the title track was rendered and featured the pianist coolly swinging with his trio. Taking things up several levels for the group and overflowing with solid playing was Freddie Hubbard’s cascading modern standard “Little Sunflower,” accented by Deborah Pearl’s light percussion accompaniment.
Throughout the concert Lang jumped around to different genres and moods that he called “a compendium of his experiences in music,” with anecdotes to go along. Examples were a melding of Bill Evans’ classical tinged “Peace Piece” and emotional ballad “Some Other Time,” which strongly resonated with the audience. Afterwards there was a high-flying bebop exploration of Charlie Parker’s interpretation of “All The Things You Are” that included bass and drums soloing. Expressing spirituality and a hope for reducing conflict around the world was “Mandela,” an intermixing of gospel, world, blues and contemporary jazz elements mostly through soaring piano and light band support to also draw notable response. From Lang’s tenure with film composer/scorer Jerry Goldsmith came the easy flowing end-credit theme for The Edge. Also included was a mash of standard “My Funny Valentine” and Leon Russell’s rock/pop ballad “A Song For You.” Somewhat related to the previous song, but more up-tempo was original “Rural State of Mind.”
By this time the concert was getting close to being two hours long and the audience was getting antsy. Lang though persisted and made sure to thank and acknowledge Piano Spheres, its Board of Directors and Advisory Board, which he belongs to. In the waning minutes, Pearl returned to solidly sing well-known blues/jazz tune “Since I Fell For You,” with the band coolly stretching out to receive strong applause. Wrapping up the concert was a tribute to New Orleans legends Allen Toussaint’s through his “Southern Nights” and Dr. John for “Come Rain or Come Shine,” who Lang did sessions with during the ‘70s and ‘80s.
San Jose Jazz Summer Fest started in 1990 as a two-day (one fusion and one mainstream) grass-roots event. Now its well-established and fully operational for three days, with a plentiful roster of jazz artists performing at 12 different venues, yet they notably never dominated the main stage. Only three were jazz, such as Gregory Porter who did a crowd-pleasing, but abbreviated set. Dianne Reeves overflowed with exhilarating vocalese, mainstream, Brazilian explorations and even expressive ballads. Carl Allen’s Art Blakey Centennial Project was a hard-bop party with stirring solos and band interactions.
Seasoned and hardcore jazz enthusiasts didn’t mind not being outside that much. Mainly because they had five indoor venues primarily dedicated to jazz that avoided the hot sun and cooling evening temperatures. Contrarily, diverse and eclectic listeners had a wide array of music to choose from, excluding rock, assaulting hip-hop, conventional country or classical on the remaining outdoor stages.
Similar to last year, the most intelligent, provocative and engaging set closed the festival at the Hammer Theatre Stage. Pianist/composer/bandleader Elio Villafranca led a daring ensemble overflowing with all-stars, saxophonists Vincent Herring and Greg Tardy, trumpeter Freddie Hendrix, trombonist/conk shell player Steve Turre, drummer Lewis Nash and percussionist Arturo Stable. They rendered intriguing and challenging compositions from Villafranca’s Grammy-nominated two-disc recording Cinque. It musically chronicled Joseph Cinque who in 1839 instigated a successful slave revolt on the slave ship La Amistad bound for Cuba that originated from what is now Sierra Leone.
Earlier on the same stage, savory veteran pianist Monty Alexander led his dynamic Harlem-Kingston Express double trio (two drummers, two bassist and one guitarist), who captivated the audience with an astonishing merging of jazz, reggae and calypso. Gracious singer Roberta Gambarini did a collection of tasteful standards and remarkable numbers, featuring her superbly singing and scatting, while honoring Nat King Cole, Rahsaan Roland Kirk, Dave and Iola Brubeck, and her recently departed colleague Roy Hargrove.
Additionally, in the same venue and from a lighter standpoint, Fred Hersch performed solo renditions of standards, originals and classical pieces that showcased his piano mastery. Known as a globally successful and Latin Grammy-winning singer/songwriter, Ivan Lins’ band showcased his romantic and funk grooving Brazilian/Portuguese-sang creations to a very appreciative audience, who sometimes sang along. In a class by themselves, guitarist/bassist Charlie Hunter and singer Lucy Woodward did a range of classic and ‘80s rock, vintage blues, and funk from their new record Music!Music!Music!. Hunter renowned for his virtuoso 8-string bass/guitar playing has to be witnessed live to be fully appreciated. Combined with Woodward’s singing, reminiscent of soul-rocking SF Bay Area singer Lydia Pense, and also Bonnie Raitt and Beth Hart, the duo with Doug Marlow-drums were a powerful force.
A major feature of the San Jose based festival is spotlighting its home-grown talent, who are sometimes nationally and internationally renowned artists. Some teamed with other prominent musicians and singers to produce extraordinary one-of-a-kind performances. Among them were powerhouse vocalist Kim Nalley and highly regarded saxophonist James Carter, who rocked the house with vintage blues and provocative jazz singing, and Carter’s signature squeaking and squawking touches.
Emerging singer Tiffany Austin teamed up with Marcus Shelby’s Orchestra for appealing standards. Drummer Sylvia Cuenca a longtime New York resident, who studied jazz in San Jose, was spotlighted with her quartet and alto saxophonist Jon Gordon for engaging standards and originals. Another drummer Akira Tana from San Francisco showcased the that utilized the groups’ shared Japanese ancestry uniquely in a jazz context.
Evolved from San Jose Jazz’s Summer Jazz Camp and conceived by drummer Wally Schnalle, the SJZ Collective Plays Mingus was comprised of the camp’s instructors and are a festival fixture. They put a modern edge on Mingus and intensely jammed away showcasing Brian Ho on organ; Oscar Pangilinan on saxophone; Saúl Sierra on bass, Hristo Vitchev on guitar; John L. Worley, Jr. on trumpet and Schnalle. Danish born and Bay Area-based violinist Mads Tolling has serious credits including two Grammies and winning the 2016 DownBeat Critics Poll Rising Star Violin Award, along with stints with Stanley Clarke’s Band and the Turtle Island Quartet. He led his quartet, The Mads Men through an eclectic set of classical, jazz and fusion. Also progressing was Jackie Gage, who is a San Jose native presently living in New York and is cutting her teeth. To a packed house she did a soulful and heartfelt tribute to Nancy Wilson.
Connie Han, based in LA and not exactly homegrown worked with her regular trio, Bill Wysaske on drums and Ivan Taylor on bass to highlight her dazzling playing through compositions from CRIME ZONE her neo-bop debut CD. Quickly gaining notoriety as a great player, pianist Emmet Cohen did double duty, first doing a set with octennial drum master Tootie Heath, and later with vintage styled singer Veronica Swift.
Not to be overlooked on the outside blues stage was a variety of entertaining musicians. Singer, dancer and multi-instrumentalist Gunhild Carling dazzled the crowd with her many talents and was backed by a band of mostly siblings (drums, tuba/trombone and clarinet/vocals for New Orleans trad tunes. Aki Kumar dubbed “The Only Bombay Blues Man” was born in India and raised in San Jose. He gave up studying software engineering to boldly meld Chicago blues and Bollywood pop to find his calling and astonished the audience.
Guitarist and singer Quinn DeVeaux performs regularly in the Bay Area and presented a laid-back set of Delta blues and gospel. On the other hand, vocalist ValLimar Jansen from Southern California heavily leaned toward gospel and took the audience to church. In sharp contrast, singer/trumpeter Shamarr Allen and the Underdawgs from New Orleans 9th Ward were about partying and getting the audience to dance.
After thirty years, The San Jose Jazz Summer Fest is destined to be even bigger and better. Although, not much was said about the 30-year milestone during the performances, there was a row of posters journaling each of the years’ main performers at the main exit to form a narrative for the festival’s history: https://www.facebook.com/sanjosejazz/videos/646108259206227/
Veteran singer/lyricist Mark Winkler is hardly one to rest on his laurels-even after releasing 17 solo recording projects and being a platinum award-winning singer/lyricist with over 250 of his songs recorded and sung by an amazing array of artists. Additionally, he has six musicals playing around the country, including Naked Boys Singing, which presently is 19 years old and the second longest running show in Off Broadway history.
Recently, Winkler had a CD Release Party at Feinstein’s at Vitello’s for his newly recording I’m With You, an homage to legendary singer/songwriter Bobby Troup who passed away in 1999. This is his second tribute to the “Route 66” song-crafter since Mark Winkler Sings Bobby Troup in 2002. At this point, it is safe to say Winkler is quite knowledgeable about Troup. In fact, during the appearance, supported by Rich Eames-piano/Musical Director, Gabe Davis-bass, Kevin Renard-drums/vocals, Grant Geissman-guitar and Ann Patterson-reeds, the very personable singer/lyricist shared historical and personal facts about the singer/songwriter/pianist, who was also an actor.
The show began with a touching introduction by CD co-producer Dolores Scozzesi, who enjoyed working with Winkler, setting the tone for the evening. Subsequently, the man of the hour hit the stage with his own coolly swinging original “Like Jazz” (not on the new CD)” and then smoothly shifted to “Snootie Little Cutie” originally recorded by Frank Sinatra that was peppy and Latin-tinged with flute soloing. “Please Belong to Me” somewhat of a ballad showed Winkler singing coolly, but with vulnerability and desperation that was bolstered by Patterson’s sax to move the audience. The CD’s title track, a lesser-known Troup tune influenced by Bobby Mercer, returned to upbeat singing, intermeshed with band tradeoffs and solos.
Amusingly, “Hungry Man” was full of the legend’s double rhymes, which Winkler pointed out beforehand and deftly maneuvered with his band to thrill the audience. Along the same lines was David Frishberg sounding “Triskaidekaphobia (fear of the number 13” with Renard vocally and comically helping out, along with the audience singing the chorus. Keeping the coolness going was “Lemon Twist” with Winkler laying down ultra-hip lyrics and bass soloing resoundingly. For a shift of mood and tempo pianist Jon Meyer joined Winkler for superbly sung and played ballad “It Happened Once Before.”
Wrapping up the delightful evening that included Troup’s daughter Cynnie in the audience was the super-hip “Three Bears” featuring the band vamping, and of course, “Route 66” arranged by Eames. Intermixed with the Troup songs were standard “Nice Work if You Can Get it,” Wes Montgomery influenced vocalese “I Could Get Used to this” featuring Geissman, and Winkler original “Lost in Those Bossa Nova Days. ” Ranging from low to high was “I Chose The Moon,” a ballad dedicated to his passed away lover with only Eames and “When Your Cat Plays Piano” with whimsical piano, and a chic sax solo. For more info go to: Markwinklermusic.com, www.feinsteinsatvitellos.com and Facebook.
Birth of The Cool
The new documentary MILES DAVIS: BIRTH OF THE COOL from the award-winning filmmaker Stanley Nelson (The Black Panthers: Vanguard of the Revolution and Tell Them We Are Rising: The Story of Black Colleges and Universities) is currently being shown around Southern California until September 13 and September 27th to October 3rd in San Diego with some of the principals at the screenings. For anyone who’s enjoyed Davis’ music this is a “must see” film featuring never-before-seen archival footage and studio outtakes, along with rare photos and interviews.
For the West Coast premiere at the Landmark Theatre, Nelson, Erin Davis, Vince Wilburn (Davis’ nephew), Cheryl Davis, Carl Lumbly (voice of Davis), Herbie Hancock and Wayne Shorter all attended. After the screening they participated in a brief panel discussion and a Q&A session. There wasn’t much “nuts and bolts” talk and instead they talked about the beauty of Davis’ music, working with him and the challenges, experimentation, Davis’ children’s professions, Wilburn’s musical activities, Lumbly’s vocal interpretation of Davis, Frances Taylor’s (Davis’s former wife) interviews and Davis family choosing Nelson, along with future TV airing.
Rennie Harris Funkified at the John Anson Ford Theatre, part of IGNITE @ the FORD! was a captivating multi-media presentation that recalled the electrifying dance scene of the ‘70s with a live band, video displays and most importantly dance troupes from back in the day. The Hood Lockers and Versa-Style Dance Company were the main ensembles with numerous configurations. They excited the audience with their unbelievable and nature defying choreography done to the funk music of George Clinton’s Parliament/Funkadelic, James Brown, Bobby Womack, Mandrill and RHF originals. The RHF Band consisted of Dave Levy-trumpet, Osei Kweku-bass, Nicholas Marks-piano, and Samir Zarif-saxophone, along with guest guitarist Mathew Dickey.
Dr. Lorenzo (Rennie) Harris born and raised in Philadelphia is a preservationist of the street-based dance movement, and has been a guest lecturer at many colleges and universities throughout the U.S. His company Rennie Harris Puremovement founded in 1992 is committed to preserving and disseminating hip hop culture through workshops, classes, hip-hop history lecture/demonstrations, long term residencies, mentoring programs and public performances. For more information go to: www.rennieharrisrhaw.org and www.fordtheatres.org.
JazzWeek Summit 2019 prior to the San Jose Jazz Summerfest was subtitled “Putting The Best Practices to Work.” Radio personalities and music programmers from all over the country and few internationally convened to discuss the state of jazz radio and how to improve it. Many markets have eliminated or severely cut back on jazz programming and now more than ever is the time for jazz purveyors to dissimulate information, organize and unite. As would be expected a prime topic was fund raising and pledge breaks. It was not an easy subject, but some of the personalities and programmers had novel and interesting approaches, mostly personally adjusted to their particular markets.
Actual music programming was also seriously discussed, ranging from basic concepts of including styles: instrumental, vocals, big band, Latin, fusion and contemporary, along with more esoteric segments and tastes in particular areas. Related to programming was promotion and attendees who do that related their challenges and frustrations getting new music played.
Technology is integral to all of this, and highly technical and not so technical related their perspectives, good and bad about utilizing new technology. Keynote Speaker and JazzWeek Publisher Ed Trefzger touched on the subject too and future directions for jazz radio. On the other hand, the discussions became very intense during the town hall section, with some agreeing to new tactics and others voicing strong opposition.
Included in the two-day event’s activities was an awards ceremony that honored and acknowledged note worthy performances and achievement in the jazz radio community. Notably, Southern California representation among the attendees was only from Santa Barbara and San Diego. Making up for the Los Angeles deficit were artists: Thom Rotella, Cathy Segal-Garcia, Judy Wexler, Mark Winkler, Ray Zapedo (Bakersfield), Denise Donatello, Lauren White and Patrick Barnitt. Artist from other parts of the country were Mary Foster-Conklin, Josi Hygari, Glen Makos, E.J. Decker, Jae Sennett (also a radio personality), Rebecca Victoria, Janine Santana (also a radio personality), Denise Perrier, Ira Liss and Charles Xavier.
Guitar legend Kenny Burrell took a fall two years ago. He is still recovering and on sabbatical from UCLA. Essentially, he is still unable to play and/or teach. Help is needed and welcomed. Here’s the link for donations setup by his wife Katherine:
Singer/lyricist/pianist Dave Frishberg is not doing well at all. If you who have enjoyed the gift of Dave’s music, please feel inspired to help him now that he needs it.
The John Daversa Small Band at The Ebell
KJazz and The Ebell of Los Angeles present Live in the Garden at the Ebell on Thursday, September 26th at 7pm. Performing at the concert will be multi-Grammy winning artist, composer and producer John Daversa with his small band. The John Daversa Small Band is a powerhouse ensemble that transitions with ease from sections of incredible sensitivity to vignettes of intensity rivaling that of the Big Band. This special evening to benefit KJazz and the Ebell of Los Angeles will be hosted by Bubba Jackson.
Over 500 artists will be performing nonstop on 8 stages for 3 nights and 2 days of the world’s best jazz at the 62nd Monterey Jazz Festival.
Voted “World’s Best Jazz Festival” by the readers of JazzTimes Magazine in 2006, 2007, 2008, 2013, 2014, and 2016, the Monterey Jazz Festival offers 20 acres of magnificent oak-studded grounds for fans to enjoy, featuring films, conversations with the Festival’s stars, exhibitions, food and beverages, an international shopping bazaar, and 8 stages of live jazz entertainment spread throughout the grounds.
Since the beginning, the Monterey Jazz Festival has been committed to presenting, nurturing and celebrating all jazz artists. To this end, Monterey Jazz Festival has adopted the We Have Voice Collective code of conduct. This code is about ensuring safe spaces for all musicians, regardless of gender, sexual orientation, ethnicity, culture, etc. to work and perform in – something we strive towards every day at Monterey Jazz Festival, and an initiative we are proud to support.
MJF 2019 Artists
Allison Miller & Derrick Hodge Present Soul on Soul: A Tribute to Mary Lou Williams
Kenny Barron and Dave Holland
Tank and The Bangas
Christian McBride Big Band
Next Generation Jazz Orchestra
Pacific Mambo Orchestra
Bob James, David Sanborn & Marcus Miller: DOUBLE VISION REVISITED
Allison Au Quartet
Gerald Clayton Quartet
Berklee Global Jazz Ambassadors
Christone “Kingfish” Ingram
Steven Bernstein’s MTO West
Electric Squeezebox Orchestra
Chris Potter Circuits Trio
Christian McBride Situation
Natalie Cressman & Ian Faquini
Pamela Rose & Terrence Brewer
Kenny Stahl Group
Abe Rábade Trío
Jenny Scheinman & Allison Miller’s Parlour Game
Antonio Sánchez & Migration
Connie Han Trio
Luciana Souza: The Book of Longing
Allison Miller’s Boom Tic Boom
Yellowjackets with special guest Luciana Souza
Amina Claudine Myers
Mike LeDonne’s Groover Quartet
DJ Brother Mister
Ben Flocks and Mask of the Muse
Roberta Gambarini & Jeb Patton
Marcus Shelby Quintet
Tammy L. Hall & Ruth Davies
Eddie & Kanoa Mendenhall
Miles Davis: Birth of the Cool
Blue Note Records: Beyond the Notes
Mary Lou Williams: The Lady Who Swings the Band
The 62nd Monterey Jazz Festival
September 27-29, 2019
The Angel City Jazz Festival – LA’s most adventurous jazz festival -was founded in 2008 by music promoter Rocco Somazzi. In 2009, Cryptogramophone’s founder Jeff Gauthier became a festival coproducer and the festival moved to the Ford Amphitheatre in Hollywood. Since then the festival has grown into an essential multi day celebration of cutting edge Jazz at some of the most exciting & prestigious venues in LA, such as LACMA, REDCAT, Zipper Hall, the Bluewhale, the World Stage, the Lodge Room and Mr Musichead Gallery.
The festival is presented by ANGEL CITY ARTS, a non-profit organization committed to cultivating and revitalizing jazz culture in Los Angeles by producing concerts by established and emerging music innovators who have achieved exceptionally high levels of musicianship and brought forward a significant contribution to the evolution of jazz and improvised music.
The Angel City Jazz Festival consistently features the most innovative and original national and international jazz musicians working today, balancing established jazz artists with emerging talent, and focusing on west coast creative jazz, past, present and future.
Pre Festival event: 2019 Young Artist Competition Finals
• October 1, 2019
• 7:00 PM 9:00 PM
• Santa Monica Public Library
7pm Finalists for our 2019 Young Artist Competition will perform live sets in front of a panel of judges. The winner will receive a $1500 cash prize and the opportunity to perform at LACMA on October 4th. Free and open to the public
Iridescent + Artifacts Trio
• October 2, 2019
• 7:30 PM 10:00 PM
• Mr Musichead Gallery
7:30 pm Iridescent with Nicole Mitchell & Christina Wheeler
9:00pm Artifacts Trio with Tomeka Reid, Nicole Mitchell and Mike Reed
Simple Trio + Parlour Game
• October 3, 2019
• 8:00 PM 10:30 PM
8:00pm Anna Webber’s Simple Trio
9:30pm Jenny Scheinmann and Allison Miller’s Parlour Game
Competition Winners + Jacob Mann
• October 4, 2019
• 6:00 PM 8:00 PM
6pm Winners of the 2019 Young Artist Competition
7pm Jacob Mann
Katisse + Diatom Ribbons
• October 5, 2019
• 8:00 PM 10:30 PM
9:30pm Kris Davis’ Diatom Ribbons
Dan Rosenmboom A.I.T.A + JBL Quintet
• October 6, 2019
• 9:00 PM 11:30 PM
9pm Dan Rosemboon A.I.T.A
10:30pm James Brandon Lewis Quintet
Ego Mondo + Aaron Parks Little Big
• October 9, 2019
• 7:30 PM 10:00 PM
• Mr Musichead Gallery
7:30pm Ego Mondo with special guest Kokayi
9:00pm Aaron Parks Little Big
Darius Jones & Joshua White + Dwight Trible
• October 10, 2019
• 8:00 PM 10:30 PM
• The World Stage
8pm Darius Jones & Joshua White
9:30pm Dwight Trible ‘Mothership’
Terry and Gyan Riley
• October 11, 2019
• 8:30 PM 10:00 PM
• Zipper Hall
8:30pm Terry and Gyan Riley
Greenlief/Dunn/Amendola + TBA
• October 12, 2019
• 9:00 PM 11:30 PM
David Binney’s Future Philosophy + Makaya McCraven
• October 13, 2019
• 8:00 PM 10:30 PM
• The Lodge Room
8pm David Binney’s Future Philosophy
9:30pm Makaya McCraven
Angel City Jazz Festival
October 1 to 6 & 9 to 13, 2019
Palm Springs Women’s Week is intended to bring women from around the country to the Coachella Valley to participate in a week of events designed to celebrate Lesbian culture and elevate the status of women. It will cast a bright light on talented local women and explore the issues and attitudes that define women’s experiences everywhere. This event is produced by the Palm Springs Women’s Jazz Festival and Lucy & Gail.
The musical story of the struggles of Black women as told by the great female blues singers like Gladys Bentley an openly gay lesbian for the Stormy Monday Blues Party
A celebration of the greatest voice in jazz music, Sarah Vaughan with the splendid jazz diva Rose Mallett.
Each year the Palm Springs Women’s Jazz Festival kick-offs with a Pre-Jazz Party. This year includes a Singles Meet and Greet. Don’t miss this grand celebration, poolside at the fabulous 4-star Rowan Hotel.
The Palm Springs Women’s Jazz Festival returns for the 6th year with two evenings devoted to a stellar line-up of music and performances by the leading female jazz musicians featuring Maysa & Jazz in Pink.
The Palm Springs Women’s Jazz Festival returns for the 6th year with two evenings devoted to a stellar line-up of music and performances by the leading female jazz musicians featuring Judith Hill & Jazz Antiqua.
Palms Springs Women’s Week & Jazz Festival
September 29 -October 6, 2019
Palm Springs, CA
Mr. Musichead, celebrating 20 years as a premier boutique art gallery and its owner Sam Milgrom, teamed up with Los Angeles Jazz Radio Broadcaster and Producer LeRoy
Downs and All Music Television Founder & CEO Frederick Smith, Jr to present Just Jazz featuring a lineup of internationally recognized jazz artists. From 6:30pm to Showtime, before each show, tune into “The Jazzcat” LeRoy Downs as he spins one hour of supreme, eclectic jazz live on SoundsandColorsRadio.net direct from the Mr Musichead Gallery! Downs will play music and interview the weekly artist as jazz patrons are arriving for the performance, enticing listeners to come on out and be a part of the Curated Jazz Experience!! A portion of the proceeds from each show will be donated to a local charity.
Doors Open: 6:00pm
Drinks & Appetizer Reception: 6:30pm
Live Music: 7:30pm
Sep 4 Jaz Sawyer
Sep 11 Ference Nemeth Trio w/ Myron Walden and Leo Genovese
Sep 18 Paul Cornish Group
Sep 25 The Trevor Anderies Quintet
Other upcoming artists include Marquis Hill and more…
September 14 Spider’s Egg Sextet
September 15 Spider’s Egg Sextet
September 21 Monty Alexander Trio
September 22 Monty Alexander Trio
September 28 Gerald Clayton Quartet
September 29 Gerald Clayton Quartet
New Roads School at The Herb Alpert Educational Village
3131 Olympic Blvd.
Santa Monica, CA 90404
Jazz Bakery’s Moveable Feasts
“Concerts and Conversations with Southern California Jazz Legends” made possible by a grant from the National Endowment for the Arts. KJAZZ 88.1 – official media sponsor.
CAP UCLA’s 2019-20 season highlights
with Christian McBride & Brian Blade
The Ford Theatres in association with CAP UCLA Presents
My Rock Stars Experimental – Live!
Aaron Neville Duo
Joshua Redman Quartet with The Bad Plus
Sergio Mendes & Bebel Gilberto
The Theatre at Ace Hotel
Bill Frisell & Julian Lage Duo
Jan 25, 2020
The Theatre at Ace Hotel
Feb 7, 2020
Feb 20, 2020
Ladysmith Black Mambazo
Feb 28, 2020
Omar Sosa & Yilian Cañizares
Featuring Gustavo Ovalles
Mar 7, 2020
Octavia E. Butler’s
Parable Of The Sower
Created By Toshi Reagon and
Bernice Johnson Reagon
Music and Lyrics By Toshi Reagon and Bernice Johnson Reagon
Directed By Eric Ting
Mar 26, 2020
Fly Higher: Charlie Parker At 100
Co-musical Directors: Rudresh Mahanthappa & Terri Lyne Carrington
Apr 18, 2020
The Theatre at Ace Hotel
Apr 25, 2020
Anthony De Mare
Liaisons 2020: Re-imagining Sondheim From The Piano
Subscriptions and individual tickets on sale at:
Jazz ‘n Paz
Fall 2019 Concert Series
Intimate Pasadena early Sunday evening Jazz programs to nourish your soul
Curated by Performances à la Carte, Jazz ‘n Paz is back with its’ fall intimate jazz series of three concerts with some of Los Angeles’ finest jazz musicians. On September 7th Rhythm & Brews & BBQ Fundraiser will take place in the backyard of a private residence in Pasadena, features Nick Mancini B3 Organ Trio with Ty Bailie on B3 organ, Tina Raymond on drums, and Nick Mancinion Vibes with vocalist Jamie Perez and a Special Legendary Guest Vocalist, well-known in the Los Angeles and featured on over 20 recordings in almost every genre from traditional jazz and blues to gospel and pop. Her melodic voice, with its two-and-a-half-octave range, is known worldwide, as are her rich, unique, soulful and highly spirited interpretations.
Performances à la Carte is a collaborative arts events producer with a mission to create unique, original live performances utilizing multi-arts genres to showcase the diverse artistic community in the greater Los Angeles, San Gabriel and Crescenta Valley area and to connect the arts with social needs and issues that serve the public interest.
Singer, songwriter and artistic director of Performances à la Carte, Carla (Jamie) Perez, is considered a very versatile singer, a performance artist of eclectic tastes and total vocality. Although she studied with some of the world’s most renown classical singers/teachers, she considers her first voice teachers and interpreters of song growing up to be jazz greats Sarah Vaughan, Nancy Wilson and Ella Fitzgerald and admits she frequently gave “Frankie” a spin (all via vinyl).
Though the music of jazz and Broadway were her first loves, her father, a lover of jazz but a devoted operaphile, persuaded her (or else) to pursue a career in classical music, which she did very successfully for 30 years. She is delighted to return to her roots and sing some of the jazz music she “cut her teeth on” (literally – she teethed on jazz album covers as an infant). Through her artistic endeavors with Performances à la Carte, she continues to create collaborative projects that promote artists, serve the public interest and that fuel her passion for beauty, authenticity and social justice.
October 6 with GF3 featuring Gary Fukushima on piano and keyboard with Miles Senzaki on drums and JP Maramba on bass.
November 17, 2 + 1 Plus Latin features Lyman Medeiros on bass, vocals by Jamie Perez, Nick Mancini on vibes, and special featured guest, Louis Cruz Beltran on congas with Carlos Vivas on piano and Abelardo Quintaro on drums.
December 22, Carols of the Belles Holiday Jazz ‘n Paz featuring Barbara Morrison, Jamie Perez, and Renee Myara, with Michael Ragonese on piano, James Yoshizawa on drums, Danny Janklow on sax and flute, and Cooper Appelt on bass.
Tickets to Rhythm & Brews & BBQ are $75 per person and for $150, VIP guests will receive ticket to fundraiser, tickets to the Fall Jazz ‘n Paz Series (three concerts with reserved seating), a ticket to the December 22 Holiday Cheer After the Concert Private Party, and a free Nick Mancini B3 Organ Trio CD, The Long Game. Rhythm & Brews & BBQ includes BBQ Buffet Dinner with Craft Beers, Marshmallow Roasting and S’mores and coffee by the Fire Pits. Email: email@example.com for invitation and tickets. Address of venue will be provided upon tickets being purchased. No tickets will be sold at the door. Series subscriptions are now on sale, offering a discount compared to individual concert tickets.
Jazz at LACMA
September 6 Joe LaBarbera
September 13 Henry “Skipper” Franklin Quintet
September 20 Teodross Avery Quintet
September 27 Paulette McWilliams
Smidt Welcome Plaza | LACMA
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