By Chris J. Walker
Judith Hill got her foothold in music as backup singer in the early 2000’s and quickly became an in-demand accomplice, working with many of the top names in the industry. Included in that list were Michael Jackson, Prince, Josh Groban, Elton John, Carole King, Johnny Mathis, Dave Stewart, John Legend and Eric Clapton. In the realm of jazz, she backed George Benson and Steve Tyrell and was the singer for Gordon Goodwin’s Phat Band, resulting ina Grammy Nomination for Best Arrangement, Instruments, and Vocals. In film, she sang on the soundtrack of Director Spike Lee’s Red Hook Summer and in the documentary 20 Feet from Stardom. That netted her and the other featured singers a Grammy for Best Music Film.
In the footsteps of other high profile backup singers who went solo, like Patti Austin and Lisa Fischer, Hill made the transition. She still continued to do supporting work that sometimes also incorporated her songwriting, arranging and piano skills. That ascent, began with about a half dozen singles in association with The Voice TV show and in 2015 Prince produced her first album Back in Time. Since then, she has dropped a new full-length release triennially, Golden Child (2018) and Baby, I’m Hollywood! (2021).
At The Grammy Museum, Hill and Music Times’s Lyndsey Parker discussed aspects of her new 2024 album Letters from a Black Widow. It was created during the Pandemic and highlighted an added dimension of the artist’s talent—playing guitar. Soft-spoken Hill, whose parents Michiko and Pee Wee Hill are musicians and also in her touring band (mom keyboards and dad bass), said she picked up guitar in 2016/2017.
Something was needed to compliment her voice and broken emotions at the time that possessed angst and energy. Playing guitar was perfect for that, and for her funk and blues styled music. Hill cited guitarists Eric Gales, Derek Trucks, Hendrix and Stevie Ray Vaughn as her biggest influences. For music in general, it was her parents who introduced many genres. But unlike many other musicians with kids, they encouraged young Hill to pursue a life of playing.
Diving deeper into the Letters from a Black Widow, it’s a concept record that Hill described as, “Taking people on a journey through a darker chapter on my life and finding the courage to put an artistic expression to that.” Essentially, the project’s theme is based on Hill being dubbed “The Black Widow” because of her professional involvement with Jackson (died 2009) and Prince (died 2016) prior to their deaths. Internet troves and emails claimed she cursed the icons with racial implications, because of her Asian and Afro-American heritage. An added sidenote was Asian-American professional pool player Jeanette Lee embracing the description and being a “killer” on the table.
Unquestionably, Hill was devastated by the harsh and very unfair criticism, first retreating and then going into therapy. Writing/journaling was suggested and the artist did what came natural to her, transforming the process into a soul searching and demon releasing project. Performing the songs are a mixture of emotions for the bandleader and sometimes brings both tears and ecstasy. Nonetheless, she continues and just returned from a month-long tour in Europe.
Q&A from the audience covered managing her time (prioritizing and focusing), favorite studios (both home and big ones), people she would like to collaborate with (Britany Howard and Jasmine Sullivan), playing with her family (very powerful, generational support and statement to the world) and visuals for the record (very theatrical) and inspiration for blues aspects of her music (foundation for her and colors other music and part of her identity), musical influences (Rose Stone, Toshi Reagon and her mother) and women being over sexualized (it’s encouraged and when women come from a place of empowerment it very threatening to the system and will last longer than ourselves).
For the last 30 minutes of the event Hill with her band showcased some of the songs from the new album. The title track began etherally with soul searching singing and then was embellished with haunting backup vocal choruses and her ripping guitar playing. “Dame De La Lumière” was a powerfully sung by bandleader and backup singers with an atmospheric keyboard solo and dedicated to her grandmother and other strong women. Contrarily, “We Are The Power” was a combination of Sly Stone and Prince-like funk with rapid-fire singing.
Even more funky with soul drenched vocals was “My Whole Life is in The Wrong Key” and was hotly accented by drums, bass soloing and keys that blew the audience away. They were even astounded by Hill’s powerful singing for R&B and gospel flavored tune “More Than Love” boosted by rocking blues guitar and an organ solo to draw a very enthusiastic standing ovation. For more info go to: www.judithhill.com and www.grammymuseum.org.
For this year 2024, the celebration returned to the Bowl with a “blow out” party that was far from being tradition and at times was raucous. With a mega lineup that was headlined by T-Pain, with Derrick Hodge conducting the Color of Noize Orchestra, a long succession of artists joined the festivities. It was amusingly slanted to regular folks in the non-box rows as emcee Affion Crockett cut up, and especially gave the upper crust attendees in the very front boxes special ribbing.
Tina Campbell of Mary Mary fame gave the concert a formal start with the Black National Anthem (Lift Every Voice And Sing) as the all-black orchestra swelled behind her and drew cheers from the crowd. Top-selling artist Ledisi followed with her heartfelt and powerfully sung Grammy-winning Adult R&B hit “I Will Do Anything For You” with the DC6 Singers Collective lavishly providing backing choruses.
T-Pain known for his hit-making Auto Tune and vocorder singing, surprised everyone when he passionately sang Sam Cooke’s anthem “It’s Been A Long Time Coming” without any effects. He said the concert was “a beautiful night for the culture and we got to show respect/homage for everyone before us.” Lalah Hathaway, not on the original lineup, sweetly sang her flowing groove “Angel” and her legendary father Donny’s uplifting ballad “Someday We’ll All Be Free” with Elena Pinderhughes featured on flute for the adjoining overture.
Hard-hitting hip-hop took over after the melodious songs as MC D Smoke delivered rapid-fire rapping and interwove with violinist/singer Sherie, who is both a musical partner and loving companion. Campbell also returned and matched their energy with spirited gospel singing for “Pray For Me” and prompted the audience to sing along.
The second half of the program was not as polished, although it was illuminated by the headliner’s radiant white tuxedo that he changed into. He served up a string of his “bootie bumping” tracks to wind the audience up. His partner LaRussell was even rawer with his ghetto vibing and by going up in the audience. Alternately, Iniko’s “Jericho,” Jordin Sparks soaring singing for “I Want to Dance” and Flyana Boss’ bubble gum rapping “You Wish” injected unapologetic “fly-girl” attitude into the party for more excitement.
Tevin Campbell, somewhat between the male and female vitality, spotlighted his ‘90s hit “Can We Talk,” along with Durand Bernarr who was more in the R&B camp. Electronic oriented David Banner gave testimony to ringleader T-Pain’s talent, innovation and daring that drew chants and howls from the audience.
The independent artist who spurred everyone on and intermittently joined in was truly touched and spoke about believing in yourself and only rehearsing once. He concluded the wild celebration with a gripping version of Gnarls Barkley’s “Crazy” embellished by the orchestra, street sensual “I’m N’ Luv (Wit a Stripper),” dancehall pounding “Kiss Kiss,” and barfly “Buy U A Drink” with the ladies in the crowd singing the chorus. The concert was definitely a lot of music squeezed into a short amount of time and T-Pain impressively made it work while having a ball. For info go to: tpain.com and www.laphil.com.
The next to the last weekend of June 2024 was a significant time for Henry Mancini’s Family. That Friday Primary Wave Music, in partnership with them released The Henry Mancini 100th Sessions – Henry Has Company. It featured Quincy Jones, Michael Bublé, Lizzo, James Galway and other artists. On Sunday, there was a Henry Mancini 100 Celebration at The Hollywood Bowl to open its 2024 summer season with Conductor Thomas Wilkins and special guests Michael Bublé, Cynthia Erivo, Dave Koz, and Monica Mancini.
Then, on that Monday, the Grammy Museum hosted Henry Mancini’s Centennial with some of the same artists. They were Monica Mancini’s husband, multi GRAMMY and Emmy-winning producer, musician and President of Concord Records Gregg Field, and Grammy-winning bandleader/arranger/multi-instrumentalist Gordon Goodwin. It was moderated by Variety Correspondent and USC Adjunct Assistant Professor Jon Burlingame, who coincidentally just published a new book, Dreamsville: Henry Mancini, Peter Gunn, and Music for TV Noir.
Prior to the panel talking about the iconic composer and arranger, a 9-minute clip from CBS Sunday Mornings’ Tracy Smith was shown. With interviews with Quincy Jones, John Williams, Field and Monica to entertainingly detail Mancini’s accomplishments, creativity and legacy. It spanned his breakout Peter Gun and the inimitable Pink Panther themes, to winning four Oscars and 20 Grammy’s before his tragic death in 1994.
Field stressed, “for the centennial this was the time to spare no expense, and do everything possible to make the greatest tribute record.” Mancini added that after her father died, her mother Ginny’s life was about his legacy, and she wanted it out there, and put it in her hands. Although her father’s music is fairly ubiquitous, she felt a responsibility to make sure that younger audiences connected the name with the music. In that regard, they invited artists like Lizzo to do a flute duet with James Galway, Sharky Puppy to do a version of “Baby Elephant Walk” and Pat Metheny to play “Lujon (Slow Hot Wind).”
Koz never met Mancini, but got to know him through his family, especially Ginny, who he called a “gin-drinking, pot smoking, hip chick” that brought plenty of laughs. The saxophonist heard plenty about the composer/arranger/songwriter being a wonderful person. But he emphasized that even though Mancini became a bigtime celebrity, he was a musician first and foremost. Therefore, all the musicians related to him and gave incredible performances that last forever.
Unlike Field and Koz, Goodwin actually got to know Mancini as Johnny Mathis’ pianist/Music Director and even conducting both them on a tour after they recorded the 1986 album Hollywood Musicals. He still can’t believe how fortunate he was to spend intimate time with him. He also cited, “Mancini was an incredible melodicist, especially when writing for comedies. He could write music that enhanced the comedy, but still gave it weight and had class and distinction.”
The conversation also covered the ‘60s, Mancini staying abreast of popular groups, even writing suites incorporating music by the Beatles, Simon & Garfunkel and even Pink Floyd. Additionally, the composer/arranger’s influences, style, structure, lesser known Mancini tunes, powerful film moments and upcoming tribute concerts were covered.
Audience Q&A entailed the most fun song to do (Baby Elephant Walk), Plas Johnson on the Pink Panther Theme, Quincy Jones scoring The Pawnbroker and Mancini’s autobiography. Also, a video of “Moon River” from the film Breakfast at Tiffany’s was shown and included Audrey Hepburn reading her letter of praise to Mancini.
After the dialogue, Koz-tenor saxophone, Goodwin-alto saxophone/trumpet, Field-drums, Dean Parks-guitar, Randy Waldman-keyboards and Carlos Del Puerto-bass, with Mancini singing got down to actually playing the renown composer/arranger’s music. First up was a sultry, bluesy version of the Pink Panther Theme,boosted by sax and keyboard tradeoffs.
The singer joined in afterwards to splendidly do the ballad theme song for Two For The Road (Mancini’s personal favorite), jazzy Charade andof course “Moon River,” that were tastefully accented by violinist Charlie Bisharat. Also enchantingly sung, The Days of Wine And Roses was accentuated by Goodwin on alto saxophone. As a special bonus, bassist Nathan East, who just flew in from Montenero, Italy joined in for a ripping version of “The Peter Gun Theme,” with saxophonists Koz and Goodwin engaging in friendly combat. For more info go to: www.henrymancini.com and grammymuseum.org.
Katalyst an nine-person collective based in Inglewood, consisting of pianist Brandon Cordoba, saxophonist David Otis, Grammy- award winning trombonist Jonah Levine, keyboard/pianist Brian Hargrove, percussionist Ahmad Dubose, uptight bassist Corbin Jones, bass guitarist/founder Marlon Spears, and guest drummer Juice bathed the World Stage with their vibrant music. Full of energy and dense, the music encompassed timbres traced to Lonnie Liston Smith and recording partner Pharaoh Sanders, with of course elements of Coltrane, and world music.
One of the ensemble’s lengthy compositions featured all the members intensely soloing and significantly was resemblant of Leimert Park trombonist Phil Ranelin’s work as an earthy mix of percussion and drums propelled things. Another was African funk driven, yet acoustically grounded and led by the pianist with light horn motifs accenting. That abruptly ended with insertion of echo-plex electric piano, with effects laden trombone and saxophone.
The cosmic-like journey continued to flow with trombone and saxophone choruses on the crest of a thematic crescendo to the steady beating of drums and percussion. Saxophone and trombone loosely harmonize for a funk-based segment that included riveting piano soloing that included layers of jubilating percussion and bass. With the emergence of trombone and saxophone weaving in and out the number shifted to jaunting post-bop that bordered experimental free jazz.
The modest, but very appreciative and vocal audience demanded more music. The band obliged with an equally robust tune spurred by hard-driving drumming/percussion as piano inventively stretched out. Be on the lookout for this grouping and for more info go to: www.katalystcollective.com
Taking TikTok and YouTube by storm is young British singer Liana Flores, who is of British and Brazilian decent. Remarkably, her voice is a unique amalgamation of bossa siren Astrud Gilberto and folk-rock queen Sandy Denny, neither of which most millennials have heard of. Undoubtedly, Flores parents had, and their tastes strongly influenced the very talented vocalist. She’s was recently signed to Verve Records and is gaining traction with live concerts in Europe and the U.S.
At the Barnsdall Gallery Theater to a sold out house, a young crowd with many of the women donning hippie pheasant dresses and head scarfs, much like Flores, eagerly anticipated the concert. The rising singing sensation played guitar and was backed by rhythm guitarist/singer Mei Semones, who did the opening set, and a mellow quartet for songs from her to be released full-length album Flower of The Soul.
Breezy “Orange-coloured Day” had traits of early jazzy Donavan, along with puerile Denny-like singing. While “I Wish For The Rain” was more jazz structured with the lead guitarist coolly soloing. Song Recently the title track of Flore’s earlier EP was bossa slanted and adorned by her angelic singing to draw shouts from the audience. The same could be said for “Hello Again” that was gently peppered keyboards.
Flores with sweet sounding British accent thoroughly charmed the concerts attendees who hung on her every word spoken and note sang. When she announced she would several of her earliest stripped down songs, such as “Try Again Tomorrow” they got even more excited. Jobim’s classic “Wave” returned to the band format and was supplely sung to receive strong reactions. Her own “Now And Then” a love song, was delicately sung, with very light accompaniment.
Mixed in with the bossa and English folk styled tunes were jazzy pop along the lines of contemporary jazz singers Laufey and Faye Webster, along upbeat and meandering poppy “Butterflies” similar to fellow English woman Annie Haslam who came up several generations before with the group Renaissance. In the closing moments Flores and the audience sang lullaby-like “Rises The Moon” and disappointed lover song “Sign” together, except for the high notes, which the headliner hit effortlessly. The Brit’s profile will definitely get larger in the future and she will be in So Cal in early September 2024. For more info go to:
www.lianaflores.com and www.barnsdall.org.
Singer/songwriter/multi-instrumentalist Silvana Estrada first appeared at Disney Hall as part of its Canto en Resistencia series in 2023 and made a strong impact on the audience, especially when singing about women’s rights and struggles for equality in Mexico. The Latin Grammy Winner for Best New Artist (2022), three-time Latin Grammy Nominee, and this year’s Grammy nominee for Best Global Music Performance has been making an impression on audiences and a diverse range of musicians since 2016.
Guitar/bass marvel Charlie Hunter, while doing a teaching residency in Mexico invited her to make an album with him after hearing Estrada’s songs. It was the first recording of her originals and she was still a student studying jazz in Guadalajara. On the heels of those sessions Estrada went to New York, where she met and played/recorded with jazz and indie rock musicians, Antonio Sánchez, Snarky Puppy, Andrew Bird, and Devendra Banhart.
Back in Mexico, she attracted interest from like-minded artists, such as Julieta Venegas, David Aguilar, Ely Guerra and Natalia Lafourcade, along with keyboardist Roberto Verástegui, songwriter Jorge Drexler and Chilean actress/singer Mon Laferte. Involvement with all of them resulted in high profile recording and performing/touring opportunities, which elevated Estrada’s artistry, stature and confidence.
Now, as a headliner, the alto singer returned to So Cal’s premier venue and showcased songs in Spanish from her 2022 album Marchita, starting with the title track done acapella. Playing cuatro, Estrada forlornly sang “Sabré Olvidar (I’ll Know How to Forget)” and later was joined by her band as her vocals became more powerful and impressive. The group consisted of Giovanna Clayton on cello/backup vocals, keyboardist/Musical Director Verástegui, Alex Lozano on drums/percussion and Alex Budman on woodwinds.
“Carta” was sung more livelier with a mixture of classical and Mexican folk elements for the backdrop, while not yet recorded “Lila Alelí” was easy flowing and pop oriented. Alternatively, Manu Chao’s “Clandestino” with cello, woodwinds and keyboards displayed Estrada’s incredible vocals and was a concert highlight. Additionally, “Brindo (Toast)” was sweetly sung, with some whistling to celebrate self-love and self-respect.
Surpassing all the songs performed earlier, was the moment Cécile McLorin Salvant and her keyboardist Sullivan Fortner, who with Yasushi Nakamura-bass and Aaron Kimmel-drums opened the concert with an enjoyable mix of standards, originals, Broadway, Haitian folk and even English Renaissance. The duo joined Estrada and band for a heavenly rendition of the classic Mexican song, “Gracias a la Vida.” It was total bliss for the audience with the two very different singers musically and culturally, but strongly bonded emotionally, masterfully accompanying and bolstering each other.
The concert could have easily ended after that beyond belief performance, but the headliner continued with more touching songs. Incongruously, she conjured up Suzanne Vega’s 1987 then ubiquitous pop hit “Tom’s Diner,” sung solely in English. With a slow crescendo the band joined in to eventually transform it into a cumbia flavored jam, loaded with hot solos, as Estrada then sang in Spanish. Without a doubt, the audience was blown
away to give an over-the-top standing ovation. For more info go to: www.silvanaestrada.com, www.cecilemclorinsalvant.com and www.laphil.com.
Alto saxophonist Steve Lehman is a 2002-2003 Fulbright scholar and recipient of the 2014 Doris Duke Artist Award and 2015 Guggenheim Fellowship. He also studied with hard-bop legend Jackie McLean and free jazz architect Anthony Braxton, along being intermittently in his various groups and recordings. With such an impressive background and being a Music Professor at Cal Arts, the very forwarding thinking musician could seem to be a bit intimidating and/or very abstract.
At the Nimoy Theatre as part of the Jazz Bakery’s Moveable Feast series, Lehman broke the ice by thanking the audience for coming and not being at home watching Netflix or preparing for Wordle the next morning. That drew chuckles and with drummer Damion Reed and bassist Karl McComas-Reichl, the saxophonist delved into playing a charged version of “Invitation” that blended bebop energy and free jazz edginess.
With special guest, like-minded tenor saxophonist Mark Turner, the music became more complex as the reed players brilliantly intersected and separately soled in avant-garde fashion to a driving 7/8 cadence for Braxton’s “No. 34A.” Lehman’s saxophone oscillating and tightly-structured “Unspoken, Unbroken” followed. “Siete Ocho” by pianist Andrew Hill, who the bandleader also spent time with featured the saxophonists weaving in and out without bass and drums initially. With them and powered by Reed’s robust drumming, Lehman and Turner served up lengthy and inventive solos that amazed the audience.
Equally impressive was the saxophonists’ whirlwind choruses and forays for Braxton’s “RDHM Opus 23D.” His “Composition 40 B” showcased McComas-Reichl solo intro, and assaulting tradeoffs from tenor and alto reeds ensuing. For something a little different Lehman’s “LA Jeans” was more melodic and less hyper, but still free jazz oriented. For the closer, Duke Pearson’s hard-bop classic “Janine,” possibly in reference to the bandleader’s time with McLean, strongly departed from the forward-thinking playing. It was done conventionally, with light tension and spotlighted Reed’s torching drumming to garner a standing ovation. For more info go to: www.stevelehman.com and www.jazzbakery.org.
For the second year in a row, the Hollywood Bowl Jazz Festival was curated by legendary keyboardist and Los Angeles Philharmonic Creative Chair For Jazz, Herbie Hancock, and saxophonist and West Coast Get Down Founder Kamasi Washington. Their union is unquestionably an effort to attract a younger and more diverse attendees, while still offering mainstream artists for the older and more traditional oriented crowd.
To their liking on the first day was 86 years-young NEA Jazz Master, saxophonist Charles Lloyd, with stellar sidemen, pianist Jason Moran, bassist Larry Grenadier and drummer Brian Blade. They’re on the celebrated reedist’s latest project, The Sky Will Still Be There Tomorrow. Slow evolving “Defiant, Tender Warrior” featured his signature whirling playing, while “Monk’s Dance,” a delightful upbeat bebop number was anchored by Moran’s Monk-like foundation that served as a spring board for the players’ improvisations. The closing number, breezy flute modal blues styled “Booker’s Garden,” was dedicated to Lloyd’s Memphis-bro Booker Little.
Another Saturday jazz entrée for the festival was eight-time Grammy-winning bassist, former LA Phil Creative Chair For Jazz, and Newport Jazz Festival’s Artistic Director, Christian McBride and his band of protégé’s Ursa Major. They were equally engaging and offered a very dynamic mix of originals and covers. Powering along with the top echelon bassist were Nicole Glover-tenor saxophone, Ely Perlman-guitar, Mike King-keyboards and Savannah Harris-drums.
Their blazing set included King’s post-bop composition “Smo’,” Perlman’s fused “Elevation” and McBride’s departed longtime friend/collaborator Chick Corea’s resounding Latin jazz classic “La Fiesta.” Also included was Harris’ contemporary jazz groove “More Is” and the bandleader’s high-energy funk/fusion jam “Brouhaha!”
One of the Sunday jazz groups was drummer Brian Blade’s (also played the day before) Fellowship Band. It incorporated Jon Cowherd-piano, Melvin Butler-tenor/soprano saxophone, Myron Walden-alto saxophone/bass clarinet, Roland Guerin-bass, Blade-drums, and producer, longtime friend Daniel Lanois-guitar/pedal steel. Their pieces were mostly easy-flowing and sometimes strongly accented by the bandleader. A slow developing tune honored Father’s Day with jagged guitar. Pedal steel also accented a country-tinged theme piece, and bass clarinet and accordion melded for a soundtrack styled tune.
Kamasi Washington’s powerful consortium closed the festival and began their set with prayer piece “Lesanu.” It expressed gratitude for the existence of music with Patrice Quinn serenely singing. The saxophonist proudly mentioned his beloved three year old daughter’s musical progress on her own little piano. She created a riff that he transformed into an explosive piece highlighted by pianist Cameron Graves’ and bassist Thundercat’s (Steven Bruner) assaulting solos. Washington briefly departed from his own music with Roger Troutmans’ “Computer Love” that was strongly accentuated by Brandon Coleman’s spacey synth soloing and the bandleader blazing away.
During the opening hours of each day as attendees trickled in, remarkable youth ensembles showcased their talents, with some destined to become future jazz stars. The LA County High School for the Arts Jazz combined an amazing coed chorale and adept ensemble of young musicians. They impressively sang and played standard “There Never be Another You,” bossa classic “No More Blues” and their own instrumental originals.
LAUSD Beyond the Bell All-City Jazz Big Band was in the vein of the Count Basie Orchestra and swung mightily. Joined by eight vocalists from The Ramón C. Cortines School of Visual and Performing Arts they performed Ray Coniff’s cha cha-like arrangement of “Brazil” dedicated to his daughter Tamara. Additionally, master saxophonist Ernie Watts performed his hard-bop tune “Some Kind of Blue” and a commanding version of Nina Simone’s “I Wish I Knew How It Would Feel to Be Free” highlighted by the young singers.
For both days of the festival, the current Herbie Hancock Institute of Jazz Performance Ensemble at UCLA, handpicked by the curator, performed original compositions. They were impressive, and creatively and sonically on the level of the professionals in the program.
The majority of the Hollywood Bowl Jazz Festival was dominated by jazz related R&B, funk and Latin artists. They appealed to the audience with buoyant backdrops for socializing, dancing, dining and libations. Host Arsenio Hall back for the third year, kept things on track and entertaining throughout, with funny and sometimes outrages jabs.
He described the five-time Grammy Winning keyboardist/producer Robert Glasper as “someone who has made his living transcending the traditional boundaries of jazz mastery and has acknowledged his own generation of hip-hop.” The bandleader cut a cool groove, singing Radiohead’s “Packt Like Sardines In A Crushd Tin Box,” loaded with understated pre-recordings, loops, light effects and his bandmates jamming intensely.
The bubbling stew of electronica, hip-hop and jazz continued, and in the process his infant daughter Lola sat on his lap briefly. Striking singer Yebba, also a Grammy-Winner and associate of the bandleader in recent years made her Hollywood Bowl debut. She filled out the segment with her harrowing rap-laden/modern soul hit “Boomerang,” poppy “Distance” and Joni Mitchell’s folk classic “Big Yellow Taxi.”
Former Snarky Puppy keyboardist Cory Henry and his large group that included backup singers was definitely in the soul/funk grooving mode. He urged everyone to dance to the Funkadelic’s party rousing mid ‘70s “Good to Your Ear Hole.” Jumping up ten years was Prince’s pulsating guitar wailing jam “America,” a suitable replacement for the current “National Anthem.”
In addition to that, dancing came to stage when the adolescent Cardinal Divas of SC, who began both days of the festival, leaped on stage for a high revving rendering of John Legend’s “Get Lifted.” Putting a nice bow on the funk/revival set was the superhot organist’s Sly Stone-styled “Rise” and soul/gospel-burning “Holy Ghost.”
Baby Rose (Jasmine Rose Wilson) a former backup singer for Ari Lennox, is a smoky and powerful vocalist, who calls her vulnerability a “superpower.” She had some of the bluster of Henry, but more toned down. Rose also leaned more heavily to heartfelt modern R&B with soulacious original “Water,” Al Green-styled “Show Me,” and gritty, lightly rocking “Closer.”
The Soul Rebels brass band injected some spicy New Orleans flavor into the festival. They induced second line excitement with original “Turn It Up” featuring the horn players tearing it up. Afterwards, they segued into Daft Punk/Pharrell Williams/Nile Rodgers mega hit “Get Lucky” and Ronnie Laws’ classic “Always There,” bolstered by riveting trombone and trumpet solos.
For more variety the brass fireballs included classics Ice Cube’s “Today Was a Good Day” and Bob Marley’s “Could This Be Love” with the audience singing the chorus. The band’s special guest, saxophonist Seun Kuti, youngest son of the iconic Nigerian Afro-beat pioneer Fela Kuti appeared toward the end of the set. He shifted things to a smoking mix of brass band and Afro-beat for “A Brighter Day,” “Ain’t Nothing But a Party” and an extended jam.
More international verve occurred through Ethiopian Jazz multi-instrumentalist 80-year old Mulatu Astatke. Considered the “father of Ethio-jazz” that blends traditional Ethiopian music with jazz, Washington selected him for the festival and considers him an influence. Astatke’s music was also a staple of former KKJZ host Miles Perlich’s United Groove program. The innovator’s music was exotic and alternated from being thematic and soulfully soothing, to ardent and funky, with palatable layers of percussion, saxophone, and vibes, which he mostly played.
Cuban Cimafunk (Erik Alejandro Iglesias Rodríguez), on the other hand was a force of nature who seized the crowd’s attention with a sizzling synthesis of funk with African and Afro-Cuban rhythms. Fueled by his band and backup singers’ high octane foundations he was like a Cuban James Brown. Cimafunk was constantly in motion, dancing, singing and rapping to tunes like “Rómpelo” and “Me Voy.” His performance was so infectious that even the Cardinal Divas of SC got in on the action on stage.
From a more refined perspective vocalist/songwriter/actress Andra Day underscored songs from her month old album CASSANDRA (cherith). Soul drenched vocals/choruses abounded on “Maybe Next Time.” While, beat-driven “Narcos (H.C.D.)” flowed mellowly and had trances of Erykah Badu. Day also showcased her keyboardist/Music Director Charles Jones who incredibly sang gospel staple “Where Would I Be Without You.”
When the main singer returned to the forefront, she did a tribute to Billie Holiday, who she amazingly portrayed and won a Golden Globe for in the film The United States Vs. Billie Holiday. The icon’s immortal “Strange Fruit” aroused consciousness, and also related to the horrifying topic of lynching was Nina Simone’s jarring “Mississippi Goddamn.” It was full of over the top singing and soloing.
Grammy-nominated singer Alex Isley, former LA County High School for the Arts Jazz student, and daughter of the Isley Brothers’ guitarist Ernie, was less visceral. With brother Jonathan playing drums in her group, she harmoniously graced songs “Still Wonder” (recorded with Glasper), “Show Me” (recorded with the West Coast Get Down’s Terance Martin) and “Mine” (recorded with Jack Dine), all with a neo soul jazzy feel. Also included in her portion of the festival was a duet with piano for Monk’s “Round Midnight.”
Hall called upcoming bassist/singer/songwriter Aneesa Strings a “triple threat.” She lived up to the buildup with an enlivening mix of jazz, R&B and hip-hop. Highlights of her set were a sumptuous jazzy version of “Sunny” on acoustic bass, along with Sade-like original “We Are The Music” and a swampy/funk mash of the Beatles’ “Come Together” and Blackstreet’s “No Diggity” on electric bass.
Regarding R&B boy bands of the ‘90s, Jodeci a duo brothers’ vocal quartet, considered the ‘bad boys” of the genre, closed out the first day of the festival. Their overpowering sound and lighting were akin to a rock concert. The unphased audience soaked it up as the singers and jamming band ignited the Bowl with a short neo soul joint of Phil Collins’ “In The Air.” From there it was a cavalcade of the outfit’s hits, that incorporated soul-laden singing, hard-hitting band support and plenty of ‘90s attitude.
Ultimately, the two-day event, marking the official beginning of the summer concert season, was an opportunity to gather with friends and family that the emcee dubbed “an integrated jazz picnic.” For more info go to: www.laphil.com
Grammy-nominated and multi-award winning alto saxophonist, arranger/composer Remy Le Boeuf brought his 17-person Assembly of Shadows band to Sam First as somewhat of Album Release party for Heartland Radio. The show was a milestone for the barely 40-person capacity club with a patio outside. Without a doubt, it was tight fit for the players as well as the audience who were very interested in hearing the young marvel’s music. It was a mix of tradition big band with classical and indie rock nuances.
Le Boeuf paid his dues through gigs with Wynton Marsalis’ Lincoln Center Orchestra, bassist Linda May Han Oh, sister indie rock band HAIM, The JACK String Quartet, fellow saxophonist Dayna Stephens, and his pianist twin brother Pascal. Additionally, the bandleader is the Director of Jazz and Commercial Music Studies at the University of Denver’s Lamont School of Music and has done numerous commissions, including one for the Jazz at Lincoln Center Orchestra.
In action, the composer/arranger/bandleader/saxophonist mostly presented his originals, along with several interesting covers. One of them was indie band Bon Iver’s “Minnesota, WI” that was a bold, yet offbeat and full of punch and solos. “New Beginnings” was totally different and a soulful jazz waltz tribute to the late great trumpeter Roy Hargrove that received affirming crowd reactions. “Scarface Rodeo” was a weird comic book-like title inspired by Le Boeuf’s partner that sounded like a wild ‘60s movie/TV show theme.
Also thematic, but serious was “Union,” full of trombones and Le Boeuf’s soloing on alto sax that was written for his sister’s wedding. Going in a different direction to break things up was a bluesy and hip jaunt featuring alto saxophonist Alex Hahn, pianist Sam Hirsh and swinging brass choruses.
The title of track of the new recording was more sophisticated and exhibited Le Boeuf’s attention getting compositional skills. Inspired by his migration from New York City to Denver. While driving a truck he was constantly searching for music (jazz) on the local radio stations. For more info go to: www.remyleboeuf.com and www.samfirstbar.com.
California Jazz Foundation’s Give The Band A Hand Gala at the Omni Hotel brought many members of the Los Angeles’ jazz community together for a very worthy cause—assisting impoverished musicians with much needed funding and medical care. Coinciding with the worry cause, founded by the foundation’s President Edythe Bronston, Esq. in 2006 were great food and music, successful auctions (silent and live), and special presentations and tributes, all hosted by KKJZ on-air personality Rhonda Hamilton.
The Heritage Award was posthumously given to Betty Hoover and accepted by her friend Peggy Barber.Hoover was one of CJF’s original board members and also its first Events Chair. She greatly contributed to the LA jazz landscape with her long-running (18 years) monthly Jazz at The A-Frame Concert Series. It was held at her A-Frame styled home in the Hollywood Hills and overflowed with a consistent array of high caliber artists. In remembrance, a video montage spotlighted Hoover, attendees and musicians was shown.
The Musical Tribute to Betty consisted of players who performed at Hoover’s events, 88 times between them all. They were saxophonist Rickey Woodard (27 times and was at her first concert), drummer/Music Director Clayton Cameron (15 times), pianist Bill Cunliffe and bassist Trevor Ware. Fittingly, they began the set with the tune “Along Came Betty” and coolly swung with a couple of tasteful solos inserted.
Afterwards, the quartet changed things up with Latin samba styled “El Classe Blues,” featuring everyone smoothly blazing away. While ballad “There Will Never Be Another You” melted hearts with a sentimental sax solo. Ending on an upbeat note was Dexter Gordon’s straight-ahead classic “Cheese Cake” that overflowed with superb interplay and hot solos to thoroughly excite the audience.
Elevating the mood even more was bassist Rickey Minor being awarded The Nica Award that was presented by dance diva extraordinaire, Debbie Allen. Beforehand, a video tribute encapsulated all the outstanding musician’s accomplishments ranging from working with Quincy Jones, Michael Jackson and Stevie Wonder and on top-selling R&B/funk/pop records, film and TV scores, along with being Music Director for the Grammys, Kennedy Center Honors and even The Superbowl.
Minor was humbled by receiving the honor and stated. “Its hard accepting accolades and gifts, when I do it, because it needs to be done. You get what you give, so if you have anything of value, a kind word, a handshake, a warm hello—give it away—it will come back to you. If we continue to do that, things will be OK.”
The bassist surprisingly enjoyed the rest of the show as a spectator, and danced and partied with Allen and others. He left the work to guitarist/arranger/producer and Music Director Greg Porée. He led a 14-person ensemble that included four backup singers and very special guest Sheléa. The dynamic singer and juggernaut band fired things up with a powerhouse version of “Let The Good Times Roll,” and soulful tunes such as Gladys Knight’s “You’re The Best Thing That Ever Happened to Me” and “I Wish” by Wonder.
However, Sheléa’s rendering of Carol King’s “Natural Woman,” although slower, was a show stopper with many of the ladies in the audience energetically singing along. Keeping that energy going to close things out was Chaka Khan’s funk rocking “I’m Every Woman.” Minor’s section of the gala was not jazz oriented, nonetheless it was an enjoyable finish. For more info go to: www.californiajazzfoundation.org.
Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net