By Chris J. Walker
Once a member of the rollicking/nearly anything goes Sammy Miller and The Congregation band, the bandleader’s older sister/guitarist Molly Miller is also free-spirited. She though, didn’t include comedic antics for her show at McCabe’s. With her hearty trio consisting of drummer Tamir Barzilay and bassist Andre de Santanna, the animated guitarist began wailing away for with her wrangled surf/jazz flavored tune “66 West.”
In terms of covers, the trio served up The Band’s ‘60s classic rock and gospel inspired anthem “The Weight” and a lightly rhythmic Americana version of Billy Preston’s ‘70s pop hit “Nothing From Nothing.” Additionally played was a jazzy/reggae rocking rendering of Cat Steven’s ubiquitous folky ‘70s hit “Wild World” and towards the end of the engaging appearance an extended and flailing take on Simon & Garfunkel’s ‘60s classic folk/rock “Mrs. Robinson.”
From a mellower standpoint the USC Professor of Studio Guitar and the Chair of the Guitar Department at the Los Angeles College of Music shifted to the breezy ballad “Whenever You Call.” It was dedicated to her younger doctor sister, which Miller played at her wedding when she walked down the aisle. While “Hopes Aren’t Dreams” was inspired by something her rabbi said during services and that one has to do something to make dreams happen.
Alternatively, Miller injected a bit of rage and also sadness for breakup themed songs, blazing “Last Sunday” and woozy “Looking at Me.” For positivity and affirmation, the guitarist and trio intensely jammed for “Took Them Down.”
Also incorporated into the show were more tunes from the guitarist/educator’s latest release The Ballad of Hotspur. “Blues to Greens” was jazz oriented and spotlighted Miller’s soft lyrical qualities. While “2 West” was a scorching and wrangling alt-country themed song that riled up the audience. Coolly winding things down for the encore was the gently flowing and lightly Latin tinged “In The Evening” to draw an enthusiastic standing ovation. For more info go to: www.mollymillermusic.com and www.mccabes.com.
CHUCHO VALDÉS: IRAKERE 50 was unquestionably the most anticipated of all the CSUN Soraya’s Jazz at Nazz’s concert offerings during its three-week span. The legendary Cuban pianist/composer/arranger, multi-Grammy and Latin Grammy-winner, 83 year-old Valdés led an assembly of younger players. He also reunited with his all-star bandmate, trumpeter Arturo Sandoval, who was in the groundbreaking group during the ‘70s and later defected to the U.S. in the ‘90s. Another stellar band member, reedist Paquito D’Rivera (not in the lineup) escaped from Cuba a decade earlier.
Adding more excitement to the affair was Cuban “young blood” vocalist Cimafunk aka Erik Alejandro Iglesias Rodríguez. He’s a Latin sensation who intermixes Cuban and Caribbean styles with hip-hop, funk, R&B and jazz. His inclusion in the concert both represented and reached younger Cubans with added vitality. However, he was somewhat subdued doing traditional Cuban and mainstream jazz material compared to his flamboyant solo performances. Nonetheless, he sang festively and reached out to the audience.
The fast-rising singer and the mighty ensemble exploded with hot clave rhythms and earth-defying brass forays for “Juana Mil Ciento,” the first tune that Irakere always plays. It was followed by “Estela Va a Estallar” that began with a delectable solo piano intro ignited by elevated Afro-Cuban band fare, solos and appealing percussive jamming. Valdés also ventured into classical oriented danzón with the band, while exhibiting his profound artistry.
The celebrated bandleader also left room for Sandoval to remarkably solo when shifting back to a jazzy with a powerful version of “Bésame Mucho.” For a respite the bandleader majestically played “When I Fall in Love” and “People (Who Need People)” solely, and with the rhythm players a high-flying interpretation of “But Not For Me.” Sandoval and his friend actor/percussionist Andy Garcia also roared with Valdés’ for his classic “Mambo Influenciado.” The trumpeter additionally took the opportunity to sweetly sing and play one of his favorite songs with only the pianist, the timeless “Smile” by Charlie Chaplin.
A lengthy interlude of incredible jamming followed and the concert ended in carnival-like fashion with the musicians playing upstage away from the microphones and audience chanting for more. In return, they got a similar sounding encore that extended the party a little longer. For more info go to: www.valdeschucho.com and thesoraya.org.
Descriptions such as amazing and incredible barely touch the surface of harpist Edmar Castañeda’s unbelievable artistry. As part of The Jazz Bakery’s Movable Feast series the Columbian-born, New York-based harpist performed to a less than half-full Moss Theatre. Artistic Director, Ruth Price even expressed her dismay, regarding the attendance. Undaunted,Castañeda proceeded solely with “CuartoDeColores” and unleashed an unfathomable wave on exotic phrases and bubbling rhythms, which blew the unsuspecting audience away.
For a breather after the torrential playing was the gentle ballad “Our Spanish Love Song” by Charlie Haden. It was first recorded by Cuban pianist Gonzalo Rubalcaba and later Haden recorded it with Pat Metheny. After the soft piece, Castañeda quickly shifted to fusion and showcased his composition “For Jaco” that was influenced by the iconic shape-shifting bassist, whose signature harmonics and tonality were ingeniously applied to harp.
The concert totally changed direction when Castañeda entertainingly told of the sweeping 20-day courtship with his equally astonishing wife of 21 years, Andrea Tierra, their two musician kids, and dog. She joined him onstage and showcased deep operatic-like vocals in Spanish for an Argentinian samba. Additionally, her passionate plea for the Americas to be united as a continent was embellished by her husband’s mind-blowing mix of Colombian joropo, flamenco, and jazz.
Without his extraordinary partner, the harpist launched into Argentinian tango master Astor Piazzolla’s high revving “Libertango,” which was an exhilarating melding of classical, flamenco and tango. Upon Tierra’s return, the couple served up a sumptuously sung bolero that roughly translated to “Let’s Love And Let’s Live.”
Wrapping up the highly enriching show was their very personal and Columbian-flavored/Spanish sung/rapped with a touch of flamenco version of “My Favorite Things.” It was beyond compare and far different from any jazz styled interpretation and also riveted with fantastic harp playing to draw a powerful standing ovation. Hopefully the next time the couple perform in LA people will be more clued in to how exceptional they are.
Castañeda is the son of the highly regarded harpist, composer, singer, and educator Pavelid Castañeda, and was a dancer initially. At 13 he started playing harp, cuatro guitar and additionally was a gifted trumpeter. Powered by a strong desire to play jazz, he traveled to the U.S. in the mid ‘90s and studied at Five Towns College in Dix Hills, New York. What the then trumpeter learned in jazz theory he applied to harp and began jamming with top-flight artists like Cuban reedist Paquito D’Rivera and Puerto Rican tres guitarist Nelson González. Word quickly spread about his uncanny talents and since then he has performed with a wide range of artists, including Sting, Wynton Marsalis, Lila Downs, Chico O’Farrill, Paco de Lucia and Hiromi. For more info go to: www.edmarcastaneda.com and www.jazzbakery.org
With three Grammy’s, a couple of top-selling records and a boatload of high praising accolades, top polling and youthful vocalist Samara Joy could easily take a “primrose path” approach to her career and just do appealing and swinging oeuvres. Instead, she has intelligently chosen to tackle challenging and lesser known material, and also do modern arrangements of familiar standards.
Joy made her Los Angeles debut on its most prestigious stage, Disney Hall with her ambitious backing septet. It included: Conor Rohrer-piano, David Mason-flute/alto Sax, Donavan Austin-trombone, Evan Sherman-drums, Paul Sikivie-bass, Jason Charos-trumpet and Kendric McCallister-tenor sax. Most of them are on the singer’s latest album Portrait and handled many of the arrangements. They were a departure from the singer’s former swinging quartet that included her college professors, guitarist Pasquale Grasso and drummer Kenny Washington.
Joy immediately showcased her vocal treatment of Mingus’ “Reincarnation of a Lovebird,” first with her trademark fluttery solo singing that marveled the audience and then coolly swung as her band cerebrally and dramatically worked out. Joy and band had quickly captured the hearts and minds of the audience. She continued with “You Stepped Out of Dream” that was filled with top-notch soloing, while additionally inserting her charming personality and a Cliff’s Notes version of her fast-emerging history.
From a more somber perspective the Bronx native honored one of her most significant mentors, bandleader/pianist/arranger/composer/educator Barry Harris with his tender ballad “Now and Then.” While with a bit of caution, she soared with the Betty Carter associated tune “Beware My Heart” that’s not on the new record. Notably, Joy’s own mashing of her own “Peace of Mind” and Sun Ra’s “Dreams Come True” was philosophic with a bed of lavish singing and sophisticated band interworking. Also along those lines was Joy’s solemnly sung adaptation of Billie Holiday’s touching ballad “Left Alone,” which the icon was never able to record.
After all the mindful and well-meaning songs, Joy finished serving up super swinging numbers “Little Things,” and bossa classic “No More Blues” with blazing instrumentation and soloing to fire-up the audience even more. Overall, the singer is definitely paving new ground, while also not forgetting to swing and have some fun. For more info go to: www.samarajoy.com and www.laphil.com.
In conjunction with the Hammer Museum’s exhibit, Alice Coltrane, Monument Eternal, brilliantly curated by Erin Christovale, that runs until May 4, 2025, Alice Coltrane’s daughter, vocalist Michelle Coltrane and harpist Brandee Younger united for a special program. It was both conversational and performative, encompassing oral histories and music. Christovale gave the opening remarks, announced all the upcoming concerts associated with the exhibit and introduced the participants.
Coltrane, in keeping with her mother’s spiritual practice, invited the audience to join her for three mantra oms. Afterwards, she chronicled with accompanying pictures and videos, her mother’s life that included humble beginnings in Detroit and playing organ for her church choir when only nine years old. During the late ‘50s after turning 21, she went to Paris with dreams of becoming a professional jazz musician. There, she studied informally with piano genius Bud Powell and played at the Blue Note Paris during intermissions.
However, Coltrane, then Alice McLeod, was required by her mother to be wed before traveling abroad (a norm for the times) and married bandmate/vocalist Kenny “Pancho” Hagood (Michelle’s biological father). He was a former member of Dizzy Gillespie’s big band and one of the few singers to record with Miles Davis (on Birth of The Cool). Michelle, born in Paris was a result of the short marriage, and a clip of her mother skillfully playing in Paris was shown.
Following the extended European trip and going to New York City to find gigs, McLeod, again unwed returned to Detroit. There, she began intensely performing with pioneering pianist/harpist Terry Pollard. With that experience and impetus, she went back to New York and became a “top-call” female musician, with Nina Simone, Marian McPartland, Dinah Washington, Mary Lou Williams and Blossom Dearie. Additionally, she joined vibist Terry Gibbs’ band and that led to meeting her soulmate, John Coltrane in 1962.
Their life together was like a whirlwind, married in 1965 and the luminary saxophonist sadly dying in 1967. During the short period they had three sons, John Jr., Ravi and Oranyan, and lived in their Long Island, Dix Hills house filled with instruments from around the world.
The couple strongly influenced each other musically and spiritually, and during the last years of his life she joined his band. Alice Coltrane replaced McCoy Tyner for albums Live at the Village Vanguard Again! and Concert in Japan. During that period the saxophonist ordered a golden hand-made concert harp that arrived after his death.
Needless to say, John Coltrane’s funeral at St. Peter’s Lutheran Church in midtown Manhattan on July 21, 1967 was a monumental event and considered by England’s Guardian Magazine “the most iconic sendoff” in jazz history. Included during the memorable service was an electrifying sermon from Pastor John Garcia Gensel who was very involved in the jazz community, a reading of Coltrane’s poem “A Love Supreme” by trumpeter and friend Cal Massey, along with free-jazz performances by saxophonists Albert Ayler’s Quartet and Ornette Coleman’s Quartet.
Interestingly, Cosmic Music, released in 1968 was the only album the Coltranes jointly worked on. It was finished in their home studio that he didn’t live to see be completed and released on their own label, and then later on Impulse. The recording company recorded most of the saxophonist’s recordings in the ‘60s and through his insistence, a relationship with Alice Coltrane was established that lasted until 1973.
That proved to be an awakening and blessing for the harpist/pianist. It gave her incentive to launch her impactful solo career, especially after suffering physically, emotionally and spiritually due to John’s passing. Michelle listed each of her mother’s subsequent solo recording projects and their significance.
In addition to the recordings, Coltrane detailed her mother’s spiritual journey. That included finding a leader, a pilgrimage to India, her spiritual name (Turiyasangitananda), establishing an ashram in the Calabasas area and efforts to preserve the John and Alice Coltrane Home in New York. Furthermore, spoken word recordings, TV excerpts and filmed performances by Alice Coltrane were played.
Younger who had been onstage taking in all the history, ethereally played Alice Coltrane selections, “Turiya & Ramakrishna” and “Going Home.” The young harpist amusingly talked about how Coltrane’s harp playing strongly influenced her, especially in terms of rhythm and the iconic harpist being a black woman. Afterwards, Coltrane enchantingly sang “Journey in Satchidananda” with Younger supplying transcendent waves of harp.
Q&A followed, covering the ashram remains and its future after the 2017 fire, how spirituality informed the Coltrane’s methods of creation, Michelle’s memories of her mother succeeding Tyner, Alice becoming a harp player and plans of Michelle and Younger doing more music together. For more info go to: www.alicecoltrane.com, talent.entireproductions.com/talent/michelle-coltrane, brandeeyounger.com and hammer.ucla.edu.
The Soraya’s 4th Annual Jazz at Nazz Festival, spread over three weeks, presented an impressive selection of vibrant artists. The festival’s diverse roster equally appealed to both new and experienced jazz enthusiasts, with layers of discovery included. Additionally, the festival incorporated a “live stream” to share the “concert experiences” at locations beyond the CSUN campus in real time and for 48 hours afterwards.
Getting things underway was the Pacific Jazz Orchestra, under the leadership of Artistic Director, Christopher Walden. They amazingly supported Broadway powerhouse singer Eva Noblezada, a Tony Award nominee and Grammy-winner, known for her critically acclaimed roles in musicals Miss Saigon, The Great Gatsby and recently Hadestown. Throughout the concert she was very candid, and a made a point of shouting out to the Philopenas in the audience and her family in San Diego where grew up for her first six years.
Three months before the concert, the singer and conductor conferred, and she was given cache-blanch for the song selections. With loads of personality and forte, Noblezada sang a sundry of songs. Half of them she never performed before, but really liked. The results were a mixture of fire and silkiness. Fire and passion came through vocals and orchestration, grandly exhibited through standard “Teach Me Tonight” and torchy “Cry Me a River.”While Jobim’s bossa classic “Corcovado (Quiet Nights),” and naturally Sade’s soul glistened “Smooth Operator” with bassist Edwin Livingston and saxophonist Dan Kaneyuki soloing were ultra silky.
As would be expected, Broadway/theatre songs were quite prominent in the program. Without Noblezada, PJO brilliantly performed a medley Kurt Weill’s “My Ship” and “Speak Low” that featured impressive solos from saxophonist Mark Visher and trombonist Andy Martin. The headlining singer mesmerized the audience with fervidly sung “Beautiful Little Fool” from the Great Gatsby. With surprise guest, boyfriend/co-star Reeves Carney she dazzlingly sang “All I’ve Ever Known” from Hadestown. Additionally, for the encore the stage star riveted the crowd with “On My Own” from Les Misérables’ which featured her during its London production.
Interspersed between Broadway and jazz numbers were poppy Frank Valli and the Four Seasons’ “Can’t Take My Eyes Off You” and Amy Winehouse’s popularized “Valerie.” For even more variety Reeves’ sister Paris was a special guest and inserted some frivolity into the show by dancing and donning cowboy hats while singing Shania Twain’s “Man! I Feel Like a Woman!” Unquestionably, the concert was a one of kind start for Jazz at Nazz. For more info go to: Instagram and www.pacificjazz.org.
Fast-rising alto saxophonist Lakecia Benjamin & Phoenix was in the Soraya’s jazz club. With Oscar Perez-keyboards, Elias Bailey-bass and Dorian Phelps-drums, the bandleader played like she had burst out of a cannon and quickly engaged the audience through furious and intense playing. Also interwoven into the thrilling set that included compositions from Benjamin’s latest release Phoenix Reimagined (Live), were salutes to Black History Month, Women in Jazz and the Civil Rights Movements of the past and present.
“American Skin” is on the bandleader’s album and includes a poem from Activist/Educator Angela Davis. Benjamin powerfully recited and rapped it before getting into scintillating high-energy playing. Keeping the uplifting vibe going was palpitating “New Mornings” featuring Perez waling on organ and piano with her. The saxophonist, who many consider the second coming of Johnny Griffin nearly blew up the transformed club-like venue with a super amped version of Coltrane’s revered interpretation of “My Favorite Things” that was dedicated to his also influential wife Alice Coltrane.
The fiery bandleader gave the audience a slight break with a very gospely take on “Amazing Grace” featuring “Reverend” Perez. She then returned to jazz with the modern number “Shortie’s Portion” as an homage to Patrice Rushen featuring a drum solo intro from Phelps. Additionally, Benjamin served up a D-flat blues tune featuring a duet intro with bassist Bailey who also soloed as a tribute to her former mentor Clark Terry.
Before closing with an upbeat tune similar to when the show started, Benjamin talked about her life changing car crash in September 2021 with her rolling off-road into a forest. It resulted in her suffering from a fractured jaw, three broken ribs and a brain bleed that required immediate attention. Remarkably, she was rescued by a truck driver and has recovered from the severe injuries, with a meteoric career and plenty of accolades—much like a phoenix, which her band’s name is based on. For more info go to: lakeciabenjamin.com.
One of the most celebrated modern-day jazz musicians is bassist/composer Christian McBride. As an eight-time Grammy-winner, Artistic Director for the legendary Newport Jazz Festival, along with the New Jersey Performing Arts Center, TD James Moody Jazz Festival and the National Jazz Museum in Harlem, he carries on the tradition of veteran artists mentoring and leading bands comprised of younger players. Ursa Major, now in its third year is such an entity, with young lions, saxophonist Nicole Glover, guitarist Ely Perlman, pianist Mike King, and drummer Savannah Harris also performed in the jazz club setting.
Outside of doing introductions, amusingly announcing the compositions played and taking some solos, McBride mostly stayed out of the spotlight while interacting with his group. Opening the set was King’s “Smo,” a cascading neo-bop tune, soon to be released as 7-inch single 45 that featured all the players, except drums deftly soloing. Following it was former Jazz Messenger pianist Donald Brown’s “Theme For Malcolm” that was mostly highlighted by King’s urban styled electric piano playing and Glover’s commanding saxophone soloing. Continuing things was “More Is,” an atmospheric groove composed by Harris that’s on the flipside of the band’s upcoming vinyl single.
After intermission, the quintet stretched out with Glover’s “Blues For Mel,” a tribute to her hometown Portland native drummer Mel Brown. He was a Motown star contract musician and then returned home to become an impactful player and mentor for the local jazz scene. The hardbop oriented number was loaded with Monk references from all of the band and especially the pianist who totally amazed the audience. Additionally, the unbelievable tune was a nod to attending author/educator/historian Robin D.G. Kelly. He’s currently the Gary B. Nash Professor of American History at UCLA and wrote the definitive Thelonious Monk: The Life and Times of an American Original published in 2009.
Rounding out the captivating show was the group’s version of Herbie Hancock’s modern standard “Dolphin Dance,” highlighted by King and also Perlman’s ripping soloing that hinted of guitarists John Scofield and John Abercrombie. In addition to it, were two McBride pieces. Gently flowing “A Morning Story” first recorded by him in 1995, and the funky/contemporary groove “Brewhaha.” He was supposed to complete it for the trio he was in with Chick Corea and Brian Blade for 25 years, but was too intimidated while the prolific pianist was alive. For more info go to: www.christianmcbride.com.
It’s not uncommon in jazz for its artists to explore a variety of themes and concepts during their careers. Keyboardist/composer/educator Jason Moran, who recently participated in Jazz at Nazz does that constantly while leading his own multi-faceted group Bandwagon, and also working with top-level musicians such as Charles Lloyd, Archie Shepp, Meshell Ndegeocello, Greg Osby and Dave Holland, along with scoring Ava Duvernay’s landmark civil rights film Selma.
What distinguishes Moran from other jazz players is his regular deep dives into history, not just with a composition or recording, but through series of concerts with multi-disciplinary attributes. Among them are: My Mind: Monk at Town Hall 1959, a multi-media presentation featuring the legend’s big band charts reworked, The Fats Waller Dance Party spotlighting Waller’s music that included Moran wearing an oversize papier-mâché replica mask of the legend’s head, and The Harlem Hellfighters: James Reece Europe and the Absence of Ruin.
JASON MORAN Plays Duke Ellington is his latest project and spotlighted the versatile musician playing piano solely and with the CSUN Jazz “A” Band. As Moran started playing, he stressed that he was “sharing the importance of maybe one of the best root-systems we have in this country, the music of Duke Ellington.” Among the solo selections he elegantly played were “Reflections in D,” “I Got it Bad And That Ain’t Good,” lengthy “Black And Tan Fantasy” with abyss-like embellishment (possibly through effects), the introspective “Melancholia” and the coolly swinging “Dancers in Love” with audience snapping their fingers along with him.
The CSUN Jazz “A” Band prepped by Director of Jazz Studies, Tina Raymond (she wasn’t onstage) put boundless energy into Ellington’s music and took the concert beyond being an intellectual exercise. The genius composer’s jumping “Rockin’ Rhythm” shot the youthful ensemble out of the gate and invigorated the audience.
Moran emphasized the fact that Ellington’s music is written, which allows the band to playing it with amazing zest. “Such Sweet Thunder” was more of a brass piece, showcasing stellar choruses, solos and a solid bass foundation. While “Braggin’ in Brass” was more vintage sounding and reveled with hot trumpet playing, recalling a young Louis Armstrong.
Vocalist Darynn Dean, joined the band for a soothing rendition of the ballad “My Love Sings” and then invigorated things with the classic “It Don’t Mean a Thing,” which spotlighted her angelic scatting. Though not singers by any measure, the trombones in the band strikingly came together impressively as if they were for the poignant “Mood Indigo.” Staying somewhat in the same mood was the jumping “Jeep Blues.” It featured the combo part of the band initially with guitar soloing, before being overtaken by the brass players, especially bluesy saxophone and trombone.
Dean, one Moran’s former students at the New England Conservatory of Music later returned. She lushly sang the poetic composition “I Like The Sunrise” with full band, and one Ellington’s most transcending and spiritual songs “Come Sunday” with only the bandleader on piano. It ended the very transforming concert to receive a powerful standing ovation and made new fans of Ellington’s music. For more info go to: www.jasonmoran.com/
Kurt Elling Celebrates Weather Report was the most ambitious of the all the Jazz at Nazz concerts. The most noteworthy aspect of the ground-breaking band’s music was that there were no vocals, outside of some chants, choruses and scatting occasionally incorporated into their music. In fact, their best known song “Birdland” only really became universally popular after the vocal group Manhattan Transfer added vocalese to it. Nonetheless, Elling making his Soraya debut with the blessings of Weather Report’s co-founder, saxophonist Wayne Shorter prior to his passing, proceeded to inject vocal sounds and lyrics into the scintillating fusion repertoire.
Aiding the singer for the endeavor was keyboardist Joey Calderazzo, bassist Essiet Okon Essiet, guitarist Mike Moreno and drummer Peter Erskine. Most significantly, Erskine was a former Weather Report band member and its longest tenured drummer. The group produced a vivacious bedrock of rhythms and motifs for Elling to adventurously vocally surf over. Among the electrifying gems played were jolting “Elegant People,” furiously raga scatted “Black Market” featuring Erskine powerfully playing and the thematic “Palladium” that reverberated with Elling’s soaring wordless singing.
Intermixed with the intoxicating tunes was the vocalist’s signature “jazzbeaux” banter that also included historic and comedic commentary. That was especially true for the intro of “Continuum” composed by WR’s iconic bassist Jaco Pastorious with only Essiet supporting initially, before being transformed into a swirling jazz piece. Also receiving the same treatment was the ballad “Current Affairs” featuring a moving solo from the Yellowjacket’s saxophonist Bob Mintzer to draw strong applause.
Ending the remarkable show was the perfect Weather Report song for Elling’s vocalese, “A Remark You Made.” Needless to say, he strikingly sang it with a gentle backdrop from the backing quartet to take the audience’s breath away.
Before Elling and crew was a set by the Yellowjackets, who Erskine also worked previously with and first met Mintzer in high school when he was 14. The longstanding band who formed in 1977 and were influenced by Weather Report, and included Russell Ferrante-keyboards, Will Kennedy-drums and Dane Alderson-bass. Their set was much more jazzy and easy flowing, than the headliners.
Included in the band’s selections from their extensive catalogue were excursion-like “Red Sea,” and neo-bop styled “Tenacity.” Another standout was a slow-down version of their popular bossa tinged “Geraldine.” It featured Mintzer’s graceful tenor sax and Ferrante soothing piano playing. For more variety the LA-based quartet included funk and hard-hitting jam Fasten Up, title track of their latest album, and similarly structured “Downtown” with Elling, who’s intermittently collaborated with them since the ‘90s scatting away. For more info go to: kurtelling.com, www.yellowjackets.com and thesoraya.org