By Chris J. Walker
Minnie Riperton’s landmark soul recording, Perfect Angel’s 50th Anniversary and her life, which tragically ended in 1979 at the age of 31 from breast cancer were celebrated at the Hollywood Bowl. The singer who possessed a five-octave range has become an impactful influence on singers who have followed her. The event in true Hollywood Bowl-fashion, included an entertaining variety of artists, some surprise and a lot of great music.
Singer Goapele (means moving forward in South African Setswana) gave the opening remarks. Getting things underway Liz Wright soulfully sang Ripperton’s soul anthem and much sampled “Les Fleurs” with the orchestra conducted by Brandon Coleman, and touchingly rendered “Can You Feel What I’m Saying?” Alex Isley contributed with the sultrily sung and soul-dripping “Inside My Love” and psychedelic rocking “Every Time He Comes Around.”
A cappela male vocal group Kings Return flourished with gospely “Hand in Hand with Jesus” and “So Amazing.” They also switched things up by singing “I’m Here With You” remarkably with the orchestra to draw strong response. Aloe Blacc sang with backup singers Riperton’s tender “Back Down Memory Lane” accented with his Al Green-like falsetto. Double entendre 70’s grooving “Stick Together” featured Blacc and the band playing robustly. Some of the members of were Tatiana Tate-trumpet, Syndee Winters-backup vocals, Ryan Porter-trombone, Randy Waldman-keyboards, Myungo Jackson-percussion and Lyndon Rochelle-drums all worked out as the crowd joyfully responded to their playing.
Further revving things up was the legendary singer/guitarist George Benson. He began with flowery praise of Riperton, who did some session singing for him in the early ‘70s. He followed with a performance of “Take My Breath Away” and of course, his immortal 1976 instrumental hit “Breezin.” Alternately, Säje, the all-women vocal quartet consisting of Sara Gazarek, Amanda Taylor, Johnaye Kendrick, and Erin Bentlage shifted things to vocal jazz with muti-layered “In The Arms of Love” and “Only When I Dream of You.” Chante Moore drew strong applause before she sang sultry songs such as “Let’s Stay in Love,” Riperton’s torchy ballad “Time is a Treasure” featuring Tate soloing, and the woman of the hour’s signature song “Lovin’ You” that drew an overwhelming ovation.
For the grand finale, Riperton’s daughter, actress/comedian Maya Rudolph walked out with the intensely popular Stevie Wonder, which erupted the Bowl with powerful crowd reactions. Wonder, who enlisted the incredible singer for his songs and tours in the ‘70’s, and co-produced her breakout album Perfect Angel in 1974, was very emotional. He took command of the stage (preventing Rudolph from speaking) and spoke lovingly about the singer before doing “Creepin’” one of the hits from his Fulfillingness’ First Finale record that featured her.
Afterwards, the 22-time Grammy-winner wrapped things up with 2004 “True Love,” an impromptu jam with the audience helping out for “Perfect Angel,” “If Its Magic” with only harp backing to garner a standing ovation and an abbreviated reprise of “Perfect Angel” to close out the very memorable concert. For more info go to: Facebook, blackpast.org, steviewonder.net and laphil.com.
William Royce Scaggs, aka Boz Scaggs is best known for his 1976 top-selling hit “Low Down” that subsequently won a Grammy a year later for Best Rhythm & Blues Song. However, Scaggs, who’s been a professional musician since the early ‘60s, first playing in Mid-Western blues bands with his Dallas, TX high school buddy Steve Miller and in Miller’s San Francisco psychedelic band from 1968-69, can’t be defined by one song.
At Disney Hall, the unpretentious 81-year-old troubadour, who many consider the impetus for popular classic rock band Toto (they were his session players), provided evidence of his range with a highly capable band. Filling it out was Willie Weeks-bass, Jamison Ross-drums/vocals, Jon Herington-guitar, Branlie Mejias-percussion/vocals, Michael Logan-keyboards and Eric Crystal-saxophone/keyboards. Scaggs and company got down to business with the “blue-eyed” easy-flowing soul tunes “It’s Over,” “Sierra” and “Slow Dancer” that all drew strong audience response.
In regards to R&B/blues, Bobby “Blue” Bland’s torch sung “The Feeling Is Gone” that soared with soulful saxophone playing and soloing. “Just Got to Know” by Jimmy McCracklin continued in that mode, ramping things up more, and bristled with ripped guitar and barrel-house piano junctures. Scaggs got a bit more rocking with Earl King’s lesser known song “It All Went Down the Drain” accented by injections of baritone sax and fiery guitar to further excite the crowd.
Bordering blues and R&B, was the classic, much covered torchy “Your Good Thing (Is About to End)” by Mable John and featured evocative singing from Scaggs. Most significant of the blues songs was the bandleader and Fenton Robison’s “Somebody Loan Me a Dime” (a Bay Area classic). It amazingly demonstrated Scaggs ability to sing mournfully, yet also naturally, with only a single line guitar initially and the other band members gradually easing in for a burning crescendo. It brought down the house and could have easily ended the show.
Be that as it may, there was no way Scaggs’ most popular song would be overlooked. His commanding soul-vibing singing and the band’s funk grooving for “Low Down,” coolly accented by flute and band backing vocals nearly caused a riot. The crowd was in heaven and gleefully dancing to the timeless hit that stretched out with tasteful embellishment. Keeping the energy going was the songwriter’s second big hit “Lido Shuffle” with the audience singing along for the chorus to garner an energetic standing ovation. For the encore soul-pop “What Can I Say” and lightly rocking “Breakdown Dead Ahead” were performed. For more info go to: bozscaggs.com and www.laphil.com.
Ivan Lins appeared at Disney Hall for the second time and captivated the audience with his mostly temperate collection of songs and themes. The multi-Grammy-winning Brazilian vocalist, songwriter, keyboardist and composer began cheerily singing the lightly pulsing “Daquilo Que eu Sei (From What I Know).” His band, guitarist Romero Lubambo/Music Director, pianist Andy Ezrin, bassist Francisco Fattoruso and drummer Gary Novak elevated things up with engaging interactions. “Velas Içadas (Raising Sails)” was easy flowing and showcased Lin’s signature sweet-sounding Portuguese singing boosted by an expansive jazz/bossa backdrop that included him and Lubambo soloing.
After some minor and humorous technical difficulties, the celebrated singer/songwriter/composer whose songs have been remarkably covered by Brazilian immortal Elis Regina, and Americans Quincy Jones, Dianne Reeves, George Benson, andthe Manhattan Transfer spotlighted the ballad “Estrela Guia” (Guiding Star).” It was performed in honor of his countryman, collaborator and friend, treasured vocalist Milton Nascimento, who is presently ill and no longer able to sing.
Furthermore, Lins paid tribute to Antônio Carlos Jobim, one of Brazil’s most honored songwriters, by performing his very popular and breezy “Dindi.” Coincidentally, it’s also a signature hit for the now 80-year old bandleader. Another popular tuned by Lins was “Setembro” aka “Brazilian Wedding Song” that featured his extraordinarily wordless singing. In addition to it was his adaptation of Paul Willam’s sensual “Love Dance” that was amiably sung in English, the equally compelling ballad “Começar de Novo (Beginnigs)” and “The Island” beautifully embellished by Alan and Marilyn Bergman lyrics,per mega producer Jones.
An interesting moment during the concert occurred when Lins seemed to be waiting for a guest who never arrived. That led to the ensemble doing samba-funk “Dinorah, Dinorah,” adorned by grooving band solos and a story/explanation afterwards. Somewhat related, was Harlequin,title track of the highly successful Dave Grusin/Lee Ritenour 1985album that was adorned with Lins’ superb vocals, scatting and an extensive bass solo to draw strong applause. For the encore the modern-day Brazilian troubadour revisited the 1989 song “Madalena” and included touches of Weather Report’s hallmark tune “Birdland.” For more info go to: ivanlins.com.br/ and www.laphil.com.
Fast rising bluesman, singer/guitarist and protégé of living blues legend Buddy Guy, Christone “Kingfish” Ingram is often labeled as “the future of the blues.” However, at the Ford Theatre the 26-year old Clarksdale, MS marvel established that he is already a “force” in the blues world. Starting with R&B styled “Midnight Heat” the former prodigy sang maturely and deeply like someone at least 20 years older, while also including James Brown-like rhythm guitar, before turning in a flaming solo.
Ingram’s singing was even richer for ballad of sorts “Fresh Out” and reinforced with possessed guitar playing that went from BB King-like whispering to house burning wailing. The concert was part of the tour for the young blues man’s newly released Hard Road album. That was the perfect opportunity to spotlight blues grooving “Voodoo Charm.” Older song “Not Gonna Lie” told of his humble beginnings and being saved by the blues, while each of the bandmembers Paul Rogers-bass, Christopher Black-drums, and Deshawn Alexander-keyboards soloed intensely.
To make things more interesting, the bandleader played gingerly ala BB King and then heated things up by playing “Mississippi Night” in the audience to further thrill the crowd. Afterwards, for a breather, Ingram played heartfelt “Rock & Roll,” dedicated to his mother who died several years ago. Staying in the emotional mood during the closing segment was new song “Nothin’ but Your Love” to displayed his “soulful lover” capabilities. Dylan Triplett, from St. Louis, MI, a Blues Award-winning singer, who’s getting strong nods opened with own band and did crowd impacting covers. For more info go to: christonekingfishingram.com and www.dylantriplettmusic.com.
MUSE/IQUE, in its quest to educate, enliven and entertain audiences recently underscored Etta James’ life, and to a much larger degree her music, through Have You Ever Heard of Etta James? at the Skirball Center. Artistic and Music Director/Founder Rachael Worby recalled the three-time Grammy-Winner, 17-time Blues Award-winner, Rock And Roll Hall of Famer, Rockabilly Hall of Famer, Grammy Hall of Famer and Blues Hall of Famer’s beginnings, influences and aspirations.
The legendary singer, born in LA, had a dismal/mostly abandoned childhood with her mother. As a result of that James was mostly raised by grandparents, other relatives, foster parents and friends—who also were unstable. James, born Jamesetta Hawkins, despite her abnormal upbringing found she was a gifted singer and became a featured soloist for popular South-Central LA gospel choirs, and doo-wop groups like the Creolettes and Peaches. Famed R&B bandleader/impresario, Johnny Otis produced some of the groups’ hits and transposed the lead singer’s name to Etta James. Her career though sputtered after leaving the trios, but eventually gained momentum when she signed with the top Chicago blues label Chess Records.
The rest is history from there, with James, despite bouts with drugs, alcohol, shady management and unhealthy relationships rising to become an icon of blues, soul, gospel, rock and jazz. Worby, with the MUSE/IQUE orchestra, singers and guests, began with James’ gospel roots for “Amen” and “This Little Light of Mine.” The buoyant songs featured remarkable vocals from Vanessa Bryan, LaVance Colley, Gaby Moreno and the DC6 Singers Collective. James additionally was influenced by jazz luminary Billy Holiday, which led to the large ensemble rendering “God Bless the Child” employing Moreno’s lissome singing, and “The Man I Love,” spotlighting Bryan’s alluringly powerful voice.
More related to the blues legend’s style of music was Little Richard’s impactful early rock anthem “Lucille.” It included Colley, the DC6 Singers, and Brandon Fields mightily soloing on tenor sax. Also of the same ilk was James’ rocking “Somethings Got a Hold of Me” adorned with singing from Colley, the Collective, and Tia Simone, who embodied the traits of the late great Tina Turner. Not to forgotten was Willie Mae “Big Mama” Thornton’s, Janis Joplin popularized “Ball and Chain” that was sultrily sung by Moreno.
An Etta James tribute would be incomplete without her trademark songs. They were “At Last” garnished by Bryan and the DC6 Singers, James’ immortal “I’d Rather Go Blind” ladened with Bryan’s emotive vocals and Randy Newman’s signature song “You Can Leave Your Hat On.” It was embellished with a funk and roaring brass arrangement, and aggressively sung by Moreno. Wrapping up the grand affair was “When the Saints Go Marching In.” James sang it as part of the Opening Celebration for the 1984 Los Angeles Olympics. All the vocalists and guest Dedrick Bonner shined brightly for the trad song to transform the concert into a festive celebration. For more info go to: www.muse-ique.com, www.biography.com/musicians/etta-james and www.skirball.org/
Robert Cray brought his distinct flavor of blues and sense of humor to the Cerritos Center For The Performing Arts. The popular and top-selling bluesman who is a singer/songwriter/guitarist with a flair for Southern and contemporary styles showcased songs from his last couple of recordings That’s What I Heard, Robert Cray & Hi Rhythm and In My Soul. Backed by bassist Richard Cousins, keyboardist Dover Weinberg and drummer Les Falconer, the Georgia-born artist was spry and affable.
Rocking “Anything You Want” got the party started, featuring his trademark jamming/soloing that never is excessive. Cray though, definitely has a sense of humor and when someone in the audience yelled out, he quickly improvised and playfully made a song out of the situation to further delight the audience. The singer/guitarist, who mostly performs his own material and only occasionally does blues standards, changed things up with Sir Mack Rice’s R&B flavored “I Don’t Care,” garnished some falsetto singing.
Digging in the vault, Cray went back to 2003 for soul searching “Where Do I Go From Heare” and injected poignant singing with pulsing rhythms and a soul-dripping organ solo. In the same mode was ground-breaking 1993 hit “I Shiver” that was soared with passionate singing and a pounding beat, along with the howling “Chicken in The Kitchen” and the jumping, trying to be vengeful “Guess I Showed Her.”
A notable aspect of Cray’s approach to the blues is his confessional, sometimes even admitting guilt songs. In that realm was “Won’t Be Coming Home,” hypnotic “Right Next Door,” Bobby “Blue” Bland’s emotional “Deep in My Soul” and melancholy ballads “It Doesn’t Show” and “Times Makes Two” that were tearfully sung to draw an enthusiastic standing ovation. The encore was a little more upbeat with funk-driving tunes “Phonebooth” and “This Man” that was more hard-driving. For more info go to: robertcray.com and ccpa.cerritos.gov.
Armed with only her voice, a banjo and guitar, Amythyst Kiah, who can easily shift from blues, folk, bluegrass and Americana enthralled the audience at McCabes with her remarkable talent and warm personality. She quickly got to work with self-empowering/resistance slanted “I Will Not Go Down.” It and many of the other songs performed were from the East Tennessee-based artist latest release Still + Bright. “S P A C E” played on banjo showcased mostly her amazing voice that was both resounding and high pitched at different times.
“Gods Under The Mountain” played on guitar merged blue grass, blues and gospel aspects of Kiah’s artistry into a powerful homage to the Appalachian Mountain region and H.P. Lovecraft’s “Cosmic Horror.” Alternatively, hard-strumming, strongly sung “Empire of Love” was more inner-driven as she sang about being a LGBTQ person of color trying to peacefully coexist in her community of mostly white Christian conservatives.
“Darlin’ Corey,” not on the album was a traditional folk song lamenting the death of a popular, rebellious, moonshining, gun-strapping woman. For something totally different, Kiah adapted Lady Gaga’s electro-dance tune “Abracadabra” into an upbeat banjo-wailing gothic folk song. Slowing things down some was the distraughtly sung Americana styled “Hang Over Blues.”
Getting deeper into blues was Vera Hall’s significant “Trouble So Hard” that emotionally illustrated the toil of slavery. It was first recorded for Alan Lomax’s Library of Congress field compilations during the 1920’s to1930’s and later was sampled by electronic music creator Moby for his 2000 “Natural Blues” track. Over 20 years later, he enlisted Kiah (and Gregory Porter) to revise the treasured song for his 2021 Reprise collection.
The Tennessee singer returned to the gem with commanding conviction and deep respect that mesmerized the audience. Wrapping up the amazing show was the riveting, self-affirming soon to be an anthem “Black Myself.” It was her contribution to her other music entity, Our Native Daughters, which includes Afro-American singers/songwriters/banjo players Allison Russell, Leyla McCalla and Rhiannon Giddens. For more info go to: www.amythystkiah.com and www.mccabes.com.
After a beyond expectations debut in 2024, the San Diego/Tijuana Jazz Festival under the leadership of Producer, Promoter, Educator and Executive Director Daniel Atkinson, returned. Much like the previous year, the multi-day event included an impressive lineup and fascinating program advocating the importance and history of the border region from a jazz perspective.
Multi-Grammy-winning Arturo O’Farrill and the 18-person Afro Latin Ensemble with the almost equally large Fandango Fronterizo Colectivo were the headliners at the main venue. The trail blazing pianist/arranger/composer bandleader and the Fandango Fronterizo Colectivo band did a Grammy-winning live recording, and performance at the wall between San Diego and Tijuana in 2018. That, and an earlier San Diego jazz festival, held about 30 years ago, strongly influenced Atkinson’s event concept.
Reunited in performance together, the groups dynamically intermixed, jazz, Latin jazz and son jarocho from Vera Cruz, Mexico. Jorge Francisco Castillo-cuatro player/bandleader of the Colectivo stated, “There are no boundaries in music.” O’Farrill on the other hand, urged the attendees to throw off their shoes, dance freely and let their dogs, if they brought them roam freely.
Opening with a verse from Oliver Nelson’s classic “Stolen Moments” the troupe burst into an over-the-top celebration, filled with soaring brass work, layers of cuatros (four-string guitars), fiery percussion and zapateado (Mexican tap dancing). The powerful consortium also slowed things with danceable vocal pieces accented by O’Farrill and band’s formidable playing and soloing to totally blow the audience away.
Prior to O’Farrill and crew, was the James Moody @ 100 Commemoration. It was suggested to Atkinson by Moody’s wife, Linda, who gave heartfelt opening remarks. The legendary and very likable saxophonist/vocalist died in 2010 and lived in San Diego for the last 20 years of his life. A group of top-shelf players were assembled for the segment, which included David Sánchez-tenor sax, John Clayton-bass, Gerald Clayton-piano, Lewis Nash-drums/vocals, Holly Hofmann-flute and Gilbert Castellanos-trumpet. Furthermore, the concert was also dedicated to the superb pianist Mike Wofford. He was Hoffman’s husband, a San Diego resident and musical catalyst who passed away two weeks before the festival.
The stellar group opened with a timely and swinging version of “Autumn Leaves” that was abundant with hot playing and solos. Continuing, the emphasis shifted to compositions Moody regularly performed during his concerts. Among them was his cohort trumpeter/composer Dizzy Gillespie’s smoldering Latin infused “Tin Tin Deo” and buoyantly-swinging “Darben the Redd Foxx” adorned with Hoffman’s exquisite flute playing, and Eddie Harris’ free-wheeling “Freedom Jazz Dance” with G. Clayton inserting a gospel close. Additionally, the flautist and bassist Clayton teamed up for a light treatment of Jobim’s classic “Wave” and Nash playfully sang “Benny’s From Heaven” to further delight the audience.
Lucia, a vocalist from Vera Cruz, Mexico, is the first artist from her country to both enter and win the Sarah Vaughan International Jazz Vocal Competition in 2022. At SDTJF she beautifully sang traditional boleros from Puerto Rico and Mexico, and an homage to her birthplace. Jazz wise, she tantalizingly served up standard, “But Not For Me,” “Sassy’s Blues” that overflowed with high-flying scatting, and “What a Difference a Day Makes” in Spanish. Notably, the song was originally written in Spanish by Mexican songwriter María Grever in 1934 as “Cuando Vuelva a tu Lado (When I Return to Your Side).”
Singer Gabrielle Cavassa was born and raised in Escondido, and won the Sarah Vaughan International Jazz Vocal Competition at the James Moody Jazz Festival in 2021. With an angelic voice and a solid cool backing trio, she treated the audience to gentle and alluring songs, such as Billy Eckstine’s “Prisoner of Love,” and the classical fused Diavola, the title track from her upcoming Blue Note album and also new breezy-sounding “Bossa Nova” featuring her playing acoustic guitar.
The 2024 Jazz Journalist Association’s Hero for the Baja, California-San Diego Borderlands region, trumpeter, composer, educator, and band leader Iván Trujillo’s Ensamble based in Ensenada, MX was on the cutting edge of things. Without a vocalist, the grouping incorporated elements of jazz, classical, electronica and fusion into avant-garde, explorative musical narratives that were both intriguing and stimulating. Unquestionably, they further exhibited the boundless creativity in the San Diego/Tijuana area. For more info go to: www.sdtjjazz.org.
Getting close to being 20 years old, the Angel City Jazz Festival created in 2008 by its Executive Director, Rocco Somazzi, was a means to present free and avant-garde jazz from the West Coast and beyond. It continues to bring original and unprocessed music to Los Angeles at various locations that are all interesting and different. For 2025 the lineup spanned the West Coast Progressive Chamber Jazz with Matt Small & Motoko Honda to Rudresh Mahanthappa Hero Trio + Brandon Ross & Stomu Takeishi’s For Living Lovers.
In between those artists were: The Gathering, a Tribute to Jesse Sharps + Chris Powe, Dan Rosenboom’s Coordinates Orchestra + Devin Daniels Quintet, Milena Casado + Steph Richards Power Vibe, Adegoke Steve Colson & Iqua Colson, Angel City x Vernacular: Trio3 Improvisations, Jeff Parker Trio + Hanging Hearts, Ches Smith’s Clone row + Mary Halvorson & Tomas Fujiwara duo and Adam Rudolph: Sunrise Trio + Special Guests.
The Casado + Richards Power Vibe concert at UCLA’s nearby Nimoy theatre provided an interesting contrast of styles and creativity. The trumpeters/producers and composers, Casado from Spain, and Richards born in Canada and currently on faculty at the University of Washington, Seattle, each led their own groups.
Richards was very avant-garde, with scratchy/sniff records for sale and surged for about 20 minutes with a Mile Davis Bitches Brew influenced number. It included her trumpet playing, Joshua Whit’s keyboard/electronics and Max Jaffe’s sound effects-like drumming and Stomu Takeishi’s resonating bass playing. The ripping piece was followed by the upbeat exploratory funk-driven “Snowfall,” and “October,” a crescendo-styled awakening piece laden with thrashing rhythm foundations, echoplex electric piano and intense trumpet runs.
Casado, also a vocalist, leaned to post fusion and highlighted selections from her debut release Reflection of Another Self. With pianist Lex Korten, bassist Kanoa Mendenhall, drummer Justin Brown, and Morgan Guerin on EWI, she got things underway with the upbeat and pulsing “Let’s Paint The World.” It was tastefully garnished by Guerin and herself. “OCT (Ode to The Crazy Times)” was vibrant and accentuated by solos from everyone and Casado’s divergently harmonious wordless singing. Additionally, the Spanish bandleader looped her singing with trumpet and group for soothing ballad/soundscapes that included Geri Allen’s “Unconditional Love.”
Closing out the Angel City Jazz Festival 2025 in momentous style were, Rudresh Mahanthappa Hero Trio + Brandon Ross & Stomu Takeishi’s For Living Lovers. Guitarist/vocalist/composer Ross best-known for his experimental free jazz/rock/metal trio Harriet Tubman and an impressive list of credits. It includes Wadada Leo Smith, Cassandra Wilson, Jewel, Tony Williams, mentor Leroy Jenkins, Lawrence D. “Butch” Morris, Bill Frisell, Me’Shell N’degeocello, Archie Shepp, Muhal Richard Abrams, Don Byron, and many others.
With acoustic bass guitarist Takeishi he formed an improvisational chamber music group 20 years ago and released their debut album Revealing Essence. It received
critical acclaim, resulting in them being recipients of Chamber Music America’s New Jazz Works grant. That include the guitarist being commissioned to compose the duo’s new work titled Immortal Obsolescence.
In performance the duo’s sound echoed the acoustic guitar work by Ralph Towner, John Abercrombie, Pat Metheny and John Renborn. “Swan” was gentle and easy flowing new tune, while “Bullseye” from new Natural Name was a stimulating piece built around the musicians’ distinctive tonality. Choppy “Jenkins of Alhambra” also new, was dedicated to Ross’ mentor, violinist/composer Jenkins. In closing Ross caringly sang and played with Takeishi somewhat disguised “The Last Time” by the Rolling Stones that was originally influenced by the Gullah Geechee people of the Georgia Lowlands who have retained their West African traditions.
Strongly differentiating from Ross & Takeishi was alto saxophonist Rudresh Mahanthappa’s Hero Trio, who played the last set of the festival. Besides being a multi-year poll winning reedist, he is both a Guggenheim Fellowship and the Doris Duke Performing Artist Award recipient, and currently the Anthony H. P. Lee ’79 Director of Jazz at Princeton University.
The trio also included, bassist François Moutin and drummer Tim Angulo. With Mahanthappa, they assaulted the stage with high-energy variations of Mahanthappa’s musical heroes’ tunes, starting with Charlie Parker’s lesser-known “Red Cross.” The bandleader mentioned first seeing Stevie Wonder on the Muppets TV Show when he was five and being mesmerized. That was the intro for the very recognizable and soulful “Overjoyed” done free jazz style.
For even more variety, the group did their interesting implementation of funk jamming for the Theme Song for Nintendo’s Animal Crossing video game that was wrought with extensive soloing from each of the musicians. Much better known to the audience was a stripped down somewhat different interpretation of Johnny Cash/June Carter’s country classic “Ring of Fire,” influenced by Cash’s cameo role on one of the Simpsons animated TV shows. For more info go to: angelcityjazz.com.
Quincy Jones, the impactful and extremely influential trumpeter, arranger, composer, songwriter, producer and humanitarian had a career that encompassed impressive accomplishments and milestones. They were in a milieu of genres and on many levels. A tribute of his life from 1933 to 2024 that includes 80 Grammy Nominations and 28 wins is beyond challenging and could easily be an all-day affair. In terms of books and films there are many, including the 2018 Quincy documentary, co-directed by his daughter Rashida Jones.
The Pacific Jazz Orchestra® led by Artistic Director, conductor, arranger, and trumpeter/flugel hornist Chris Walden, skillfully streamlined the high-voltage polymath’s pre-mogul years musically. That was the period prior to Jones’ top-selling pop and R&B projects and was titled Fly Me to the Moon-A Tribute to Quincy Jones at Cal-State Northridge’s Soraya theater. Special guests for the occasion were none other than vocalists José James and Lisa Fischer, who injected their unique qualities into the concert.
The 23-person jazz orchestra that included three backup singers, dynamically replicated Jones’ classic charts, all arranged by Walden. Interspersed into the concert were several of the mega producer’s themes for TV shows and films. Opening the celebratory event was the 1965 Pawnbroker Theme, Jones’ first scoring assignment, later in program was striking music for the TV show Ironside, and his original “Soul Bossa Nova.” It was first recorded on his Big Band Bossa Nova in 1962 and later resurfaced as the theme for the wacky Austin Power films.
Fischer donning a Dr. Suess-like hat began astonishingly singing “Dream a Little Dream of Me,” which Jones arranged for Count Basie and Ella Fitzgerald in 1963—the song was later popularized by the Mamas & Papas’ Cass Elliot. Fischer amazingly shifted gears to lushly sing “The Midnight Sun Will Never Set,” which Jones beautifully arranged for Sarah Vaughan, and then again for the silly “Makin’ Whoopee,” arranged for Dinah Washington.
The headlining singer’s range was further displayed on “One Mint Julep” by Rudy Toombs and arranged for Ray Charles by Jones. Additionally, she tenderly sang Erroll Garner’s classic “Misty,” which Jones arranged for Vaughan. Fischer finished turning in a rousing version of Ellington’s timeless “Caravan” that was stylishly arranged for Washington.
James wearing a long dress of sorts revved things up with “Let the Good Times Roll” arranged for Charles by Jones and “More” arranged for Frank Sinatra. For “Fly Me to The Moon” one of Sinatra’s best known songs, Jones switched to a more traditional tux and blew the audience away with his surprisingly masterful delivery and bravado.
After intermission, the featured singer returned with more “Rat Pack” music, doing “Teach Me Tonight,” which Jones arranged for Sammy Davis Jr. The ground-breaking, Academy Award-nominated theme In the Heat of the Night with lyrics by Alan and Marilyn Bergman was the highpoints of the evening and drew stirring applause. In keeping with the occasion, “The Best is Yet to Come” by Cy Coleman with lyrics by Carolyn Leigh was another Sinatra standout that kept the excitement going.
Closing out the grand affair was ““How Do You Keep the Music Playing,” |by Michel Legrand with lyrics by the Bergmans and Walden’s arrangement. It amazingly featuring the starring singers rhapsodically working together to draw an enthusiastic standing ovation. For more info go to: quincyjones.com and thesoraya.
Detroit native, singer/songwriter and abstract painter Kathy Kosins landed at the Torrance Cultural Center’s Nakano Theatre for a two-night gig.
Supported by Mitch Forman-keyboards/producer, John Leftwich-bass and Gene Coye-drums, she showcased songs from her 2012 album To The Ladies of Cool. With panache, resonant tones and scholarly knowledge she took the audience on a crash-course of West Coast Cool. In fact, the set came close to becoming a lecture as Kosins supplied plenty of anecdotes and facts about the women of the era, Anita O’Day, June Christy, Julie London and Chris Connor.
O’Daywas acknowledged through the lushly sung and hip swinging“Nightbird.”A little more upbeat was “All I Need is You” that was lightly percolating and vocally resonant to recall Connor, whose real name was Mary Jean Loutsenhizer (a quiz question). Christy, Stan Kenton’s longest serving singer was saluted through the novel “Kissing Bug” that featured the trio working out and Kosins exhibiting her Motown roots.
For London, it was her husband Bobby Toup’s happy-go-lucky “Free and Easy” that was playfully sung and lightly accented by Forman, along with the robustly performed “Learnin’ The Blues” recorded by London and Sinatra. “Tip-toe Gently” recorded by Carmen McRae wasn’t included on Kosins’ West Coast Swing tribute record, but fit the vibe of the show, and also Leftwich played with McRae for four years.
After the intermission, Kosins changed things up and exhibited another dimension of her talent with songs from the 2018 Grammy-nominated project Uncovered Soul. It leaned more to women singers and songwriters that were R&B and soulfully jazz oriented. “Can We Pretend” by Denise Nichols, former wife of Bill Withers, started the set with breezy grooving and stirring singing. Kosins’ own “If Love Could Talk” was emotional with an urgent message and included an organ solo.
Not on the record, were Brenda Russell’s hallmark song “Get Here,” which was richly sung and Stevie Wonder’s “Golden Lady,” nicely garnished with a bowing bass solo. Additionally, Kosins’ “Aurora’s Light” originally recorded with Forman in 2018 and just recently released was a reverberating and evocative piece that drew strong applause. Ending the engaging and multi-faceted set was Burt Bacharach/Hal David’s ‘60s pop classic “Walk on By” as homage to Dionne Warwick to garner a standing ovation. Also included, was an impromptu painting, Kosins did while the band played an instrumental. For more info go to: kathykosins.com and arts.torranceca.gov.
The 2025 LA Jazz Society Gala Fundraiser at the Montalban Theatre overflowed with incredible talent, distinguished honorees, tremendous fellowship and a fervent devotion to jazz. Most importantly, the grand occasion saluted both dedicated mentors/educators/performers and aspiring protégés/students. KKJZ’s on-air personality Rhonda Hamilton hosted the festivities and LAJS’s new President Michael Todd gave the opening remarks.
As would be expected, there were an array of awards and commendations given for stellar contributions and achievements. Among them were the Flip & Shelley Manne New Talent Award, given to drummer Saoirse Sipes and presented by the renowned drummer Joe LaBarbera. The Jazz Educators Award went to Thomas Whaley and was presented by Todd. The David L. Abell ‘Angel’ Award was granted to California Jazz Foundation Founder and President Edythe Bronson, whowas quite moved as Todd, Rita Zwern and John Clayton also the concertMusic Director presented it.
Other honors were the Jazz Vocalist Award, bestowed to Gretchen Parlato and presented by her mentor, singer Teirney Sutton who came in from Paris. The Jazz Composer/Arranger Award was given to keyboardist/educator Patrice Rushen and presented by her longtime friend, guitarist Lee Ritenour. The Lifetime Achievement Award went to Louis Saffian and was presented by her grandson, and the Jazz Tribute Honoree was bassist Christian McBride with Clayton doing the presentation.
Musically, the happening was enhanced by remarkable performances from students and professional players. The Bill Green Centennial Salute bolted out of gate with an exuberant and crowd-pleasing version of the bebop classic “Now is The Time.” It was propelled by saxophonists: Jacob Sceney, Jack Leiberman and Tony White; trombonists Jordan Klein, John Eigizi and Ira Nepus; pianist Josh Wong, bassist Richard Simon and drummer Angelo Velasquez.
Sipes and his trio that included Quinn Sims-bass and Jack Lieberman-sax, admirably served up more bebop. Parlato’s quintet with Clayton on bass, Jacob Mann on piano, Alan Hampton on guitar and vocals, and Mark Guiliana on drums, spotlighted her highly nuanced style of singing. Among the songs were “If it Was,” a poignant tune with a bowing bass into featuring her and Hampton singing for healing after the Altadena Fires, and a cosmic take on Herbie Hancock’s ephemeral “Butterfly” that was a concert standout.
Also compelling was Rushen’s quartet, which included Reggie Hamilton-bass, Nicole McCabe-alto saxophone and Clarence Penn-drums. They showcased the pianist/composer/arranger’s dynamic tunes such as the fast-paced fused “Shortie’s Portion” and jazz waltz/gospel styled “Lil’ Bit” written for her small greyhound dog.
McBride with Eric Reed on piano and Roy McCurdy on drums finalized the celebration. He began with a solo bass treatise that was sumptuous, soulful and literally talked to the audience, who clapped along for a spell. Afterwards, Clayton on arco bass joined him for a soothing interpretation of “My Funny Valentine” and a thrilling jam to garner a standing ovation.
The bassist’s highly regarded sidemen eventually joined him to play Cannonball Adderley’s super swinging hardbop hit “Unit 7.” For the closing moments McBride invited Parlato, Rushen and Guiliana on drums for Michael Jackson’s serenading ballad “I Can’t Help it.” For more info go to: lajazz.org and www.themontalban.com.
Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net