Julius Rodriguez (Orange Julius) is a fast-rising multi-instrumentalist (bass, keyboards, drums, guitar) and composer, who grew up in White Plains, New York. As an adolescent, he went to the Manhattan School of Music for its precollege curriculum and then to Julliard for college. His influences range from The Bad Plus, Vijay Iyer, Jason Moran, Monk, Coltrane and the Beatles. As a professional musician, he’s worked with Keyon Harrold, Ben Williams, Carmen Lundy, Jazzmeia Horn, Roy Hargrove, Macy Gray, Wynton Marsalis, Veronica Swift, Kurt Elling, and Meshell Ndegeocello. And in hip-hop, Rodriguez has collaborated with Ratking, members of the Wu Tang Clan and A$AP Rocky.
At Club Zebulon, the multi-instrumentalist bandleader, who mostly played keyboards, showcased pieces from his second album on Verve, Evergreen! He and muscular playing cohorts, Luke Titus-drums, Jermaine Paul-bass, Morgan Burrs-guitar and Alonzo Demetrius-trumpet took siege of the venue with an assaulting barrage of intense jamming, balanced by ambient and funky interludes. An amped up version of “Love Everlasting” featuring him soloing dynamically with the backing players, especially Demetrius wailing away, got things underway.
Herbie Hancock’s “Butterfly” followed and was equally charged, while also being robustly rhythmic. “Mission Statement” was cosmically themed and bolstered by dazzling synth and trumpet interplay with touches of Miles Davis’ “In a Silent Way,” along with a scorching guitar solo. For catchy “Funmi’s Groove” the band shifted to comparatively relaxing grooving fueled by Paul’s expansive bass lines for mellow guitar and trumpet soloing that eventually shifted up-tempo.
“Around The World” had similar qualities, yet more refined, and in between mainstream and contemporary jazz with an offsetting cadence and the bandleader stretching out. The tune segued into Rodriguez’s sole atmospheric keyboard layered “Stars Talk” to fully demonstrate the bandleader’s artistry and depth. For more info go to: www.juliusrodriguez.com and zebulon.la.
Patti LaBelle, a two-time Grammy Winner, chart-topping vocalist in the realms of R&B, funk, gospel, pop and jazz since the early ‘60s, and actress, held court at the Hollywood Bowl. Supporting her for the special engagement was LaBelle’s own large band. The diva opened and soared doing a mix of gospel and soul through her mid ‘90s hit “You Saved My Life.” It was in reference to her fans loyal following over the years and she recalled that her first Bowl appearance was in 1971.
With even more soulfulness and high-flying singing LaBelle served up “Love Need And Want You,” also from the ‘90s that included the singer getting more comfortable by kicking off her shoes. “All This Love” from the same era was dedicated to her ailing and on the mend friend Celine Dion. While, “Right Kinda Lover” resembled her longtime contemporary Aretha Franklin.
After revealing to the audience that she turned 80 in March, LaBelle and her ensemble that included backup singers, dancers and a rapper ramped things up with “Busta.” It was a hip-hop homage to Busta Rhymes, full of energetic singing, rapping, dancing and band soloing, and the headliner was in the middle of it all, singing and screaming with impressive intensity.
Understandably, the iconic singer slowed things down some afterwards with heart-felt and silky ballad “Somebody Loves You.” The song was interlaced with jazzy forays and a video collage of her photos and album covers. As a bonus Jeff Bradshaw, with LaBelle taking a breather, sang “Yearning” and the trombonist was out front with him and soloing.
Upon returning, the popular singer stayed in slow dance mode doing “On My Own,” which she recorded with Michael McDonald in the ‘80s. Additionally, LaBelle featured one of her backup singers for gospel and emotionally drenched “Something About The Name” and “You Are My Friend.” As would be expected, the living legend’s most popular song “Lady Marmalade,” originally done with her super funk vocal group LaBelle in 1974 was saved for the end and brought down the house.
Opening the impassioned concert was Straight No Chaser, a 25 year-old nine-person cappella group who were formed at Indiana University. They energized the crowd with house rocking covers of “Ride Like The Wind,” “Billie Jean” and “Taking it to The Streets.” For more info go to: www.pattilabelle.com, sncmusic.com and www.laphil.com.
Ten-time Grammy-winner and Rock & Roll Hall of Fame Inductee, Chaka Khan, aka Yvette Marie Stevens, returned to the Hollywood Bowl accompanied by its orchestra conducted by Thomas Wilkins. After receiving appreciative applause from the audience, Khan gushy-upped in a beautiful tight fitting gown exhibited her versatility by performing songs from her album KlassicKhan, recorded with the London Symphony Orchestra in 2004.
For “Hey Big Spender” the funk queen purred alluringly with the orchestra subtlely roaring behind her, and then exhibited vulnerability for a gentle (for Khan) version of Willie Nelson’s classic “Crazy.” She maintained the mood for “My Funny Valentine” with a lush backdrop of strings and choruses from the backup singers. Also included in that section of the set was Khan’s heartfelt ballad “I Believe.” She amusingly admitted forgetting she had written the song when recently hearing it and then teared up after singing it.https://www.youtube.com/embed/PJVr-5uuARg?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent
Transitioning into much more lively pop tunes was Lulu’s ‘60s hit “To Sir With Love,” dedicated to Khan’s father Charles. From the same timeframe she scorched with dynamic themes, Goldfinger and Diamonds Are Forever featuring her and the brass roaring.
For the last 45 minutes of the concert, Khan without the orchestra performed her more familiar material and changed into much more comfortable attire. To get the audience fully in the mood a video montage detailing the singer’s uniqueness and 50-year career highlights was shown. Following that Khan and band shook the Bowl with rocking/funk jams from Rufus (her breakout band) and her solo hits.
Self-professing “This Is My Night” got the party started and former Rufus singer/guitarist Tony Maiden joined her for the soul/funk/Latin tune “Do You Love What You Feel” that got the crowd dancing. Mega-hit “Tell Me Something Good” written by Stevie Wonder for Khan and Rufus with a scorching guitar/vocoder intro erupted the house with gritty singing and infectious rock/funk rhythms.
For a breather “Sweet Thing” and “Take It to The Top” slowed things down with rapturous soulful singing. Khan’s blockbuster anthems “I’m Every Woman” with all female attendees singing along and “Ain’t Nobody” with everyone singing and dancing revived the energy to close the show and drew a resounding standing ovation. Masego, aka Micah Davis a Jamaican-born singer and saxophonist got the concert started. He astounded the audience with an intriguing mix of modern soul, dancehall and smooth jazz. For more info go to: chakakhan.com, www.masegomusic.com and www.laphil.com.
First and foremost, Lianne Marie Dobbs is a thespian who possesses a resounding voice and equally large personality. She’s had roles off-Broadway and in theatres around the county, along with being in numerous TV shows and films. As a true song and dance person, Dobbs injects passion into every note and lyric she sings.
Making her debut at Catalina, the native Northen Californian and New York-based singer/actress presented The Windmills of My Mind…for Dusty Springfield. This was her second time doing the show and it was first performed in New York. With Musical Director/pianist Ron Abel, guitarist Grant Geissman, bassist Randy Landas and drummer Tom Walsh, Dobbs adeptly interpreted, with occasional dramatic and comical digressions, the songs of the iconic British blue-eyed soul singer. She was born Mary Isabel Catherine Bernadette O’Brien in West Hampstead, London, England in 1939.
“Stay Awhile” one of Springfield’s earliest hits as a solo artist got things underway and quickly segued to the chart-topping and alluringly sung “The Look of Love” with a bold Broadway-like vocal finish. It was among the treasure chest of great songs from the Burt Bacharach/Hal David team that the Brit recorded. Others by duo included in the entertaining 90-minute set were self-questioning “I Just Don’t Know What to do With Myself,” torch-like “Twenty-Four Hours From Tulsa” and “A House is Not a Home” filled with Dobbs personal touches.https://www.youtube.com/embed/gHbP0mC3Ofc?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent
The headliner as expected had done plenty of research on the Rock & Roll Hall of Fame inductee, but chose not to dwell on dates or be linear. Instead, she revealed how zany her brain can be and sometimes results in her doodling. That led to a finger-snapping and lightly rocking cover of Horace Silver’s jazzy staple “Doodlin’,” which Springfield surprisingly first recorded in 1965.
A couple of years earlier the Brit quickly got England and America’s attention with her first single “I Only Wanna Be With You” that was enchantingly sung by Dobbs and garnered with a breezy guitar solo. Diving into ‘60s Motown was “Tell Him,” and “Heat Wave,” which Springfield actually got to sing with Martha & The Vandellas, and Steve Wonder’s “For Once In My Life.” Springfield’s immortal “”Son of a Preacher Man” was Memphis-drenched and showcased the gritty soulful side of Dobbs’ singing, with Geissman injecting snarly riffs to draw hoots and howls from the audience.
Afterwards, the thespian/singer returned to more theatre-suited songs that are also in Springfield’s catalogue, such as Carole King and Gerry Goffin’s “Goin’ Back” and “Up on The Roof,” and “Old Friend” by Nancy Ford and Gretchen Cryer. They all showcased resilient and emotive singing, and in that regard, the crown jewel was the title song, which was full of sensitivity, spirit and entrancing singing.
Of special note was the Broadway stomper “Quiet Please, There’s a Lady on The Stage,” written by Peter Allen. Abel was the Music Director for Allen’s concert at The Greek Theatre in 1976 where he persuaded Springfield to make a comeback appearance doing the song. It drew a stirring standing ovation and a heartfelt encore performance of “Home to Myself” with touching lyrics by Melissa Manchester.
Dobbs and crew are scheduled to take the show to other cities and possibly return to LA, and she is working on a new album. For more info go to: www.liannemariedobbs.com and catalinajazzclub.com.
Similar to fellow bassist, Richard Bona, Esperanza Spalding showed great promise as a musician, and many thought she would emerge as a bass powerhouse. Spalding though, also like Bona, sought a different direction with more emphasis on vocals and a melodic orientation, along with world music and fusion. Remarkably, the former Berklee College Instructor (its youngest) and former Harvard Professor’s vision came to fruition, resulting in four Grammy’s, a Doris Duke Award and many other honors.
Additionally, Spaulding has established enduring creative connections with an interesting array of artists, such as Joe Lovano, Herbie Hancock, Patti Austin, Terri Lyne Carrington, Wayne Shorter and Milton Nascimento. In fact, the bassist/singer’s new recording Milton + Esperanza is a reuniting collaboration with her living legend idol.
At The Luckman Fine Arts Complex on the CSULA campus, Spaulding performed with her band/dance collective. It consisted of Eric Doob-drums/percussion/vocals, Morgan Guerin-bass/keyboards/saxophone/vocals, Antonio Brown-Choreographer/dancer, Kaylin Horgan-dancer, Christiana Hunte-dancer and Tashae Udo-dancer. The bandleader began with gentle soprano singing for ethereal and meditative “Formwela 1” with little backing.
With her cohorts, Spaulding smoothly segued to a lightly flowing and folky version of Nascimento’s beautifully haunting “Ponta De Areia.” Surprisingly it’s not on new recording, and the Brazilian recorded it with Shorter for his landmark 1974 album Native Dancer. From there the concert became a bit of an interactive and personal journey as the bassist/singer/activist jumped around from her different projects. Including was rocking/theatre-like “12 Little Spells” and dance improvisation propelled by Charles Lloyd-like tenor solo saxophone playing.
Spaulding also rapped, sang and played intensely with drums and sax backing about people who are constantly on their phones, which got the audience’s attention. Additionally, the multi-faceted artist soulfully sang “Thang,” a cute child-like song with church organ playing that encouraged the crowd to move and stretch to ease pain in their joints and backs with some singing along. Percussion also was the backdrop for the dancers and Spaulding to move gracefully as bass and keyboards joined in to eventually become funk groove “I Know You Know.”
Closing the wide-ranging show was the soulful and jazzy ballad “Black Gold.” It extoled the great contributions to the world from Africa and its incredible history, with many in the audience singing the chorus. For the encore Spaulding showed a video about her musical, spiritual and holistic commune/sanctuary PRISMID, Inc in Portland, Oregon where she grew up.
The crowd loved it and she followed playing acoustic guitar and singing the folky song “Formwela 4,” and then switched to piano for an improvised tune with everyone singing with her.
Without question, Spaulding charts her own course, and has been creative and successful on her own terms. For more info go to: esperanzaspalding.com and theluckman.org
Despite the quagmire of well-publicized legal and personal issues plaquing the survivors of Frank and Gail Zappa, who respectively died in1993 and 2015, second son Dweezil (only musician of the four siblings), named Ian Donald Calvin Euclid Zappa at birth (a nurse refused to register his given name), remains resolute in his efforts to keep his father’s zany and also highly structured music active with new recordings and tours.
Dweezil’s ROX(POSTROPH)Y Tour celebrated the 50th anniversary and also commingled his father’s popular 1974 recordings, Apostrophe and Roxy & Elsewhere. Along with the 1973 Overnight Sensation, the albums represent Zappa’s most commercially successful period, which he often panned in his music, yet innately desired. About 10 years later, Ship Arriving Too Late to Save a Drowning Witch was released and contained the idiosyncratic guitarist/singer/composer/producer’s best-selling single, the infamous “Valley Girl,” in which the oldest Zappa offspring, daughter Moon Unit crazily regurgitated teenage “valley speak.”
With fellow conspirators, Ryan Brown-drums, Kurt Morgan-bass, Bobby Victor-keyboards/vocals, Zach Tabori-guitar/drums/percussion and crowd favorite Sheila Gonzales-vocals/reeds/keyboards/percussion and wacky instruments, Dweezil’s band made a stop in LA at the Orpheum to a near-capacity house. It was filled with mostly aging fans, who thoroughly knew Zappa’s music. The bandleader, schooled by guitar gods, such as his father, Eddie Van Halen and Steve Vai mostly played his dads Les Paul guitar with occasional singing, and acted as the emcee to keep the music flowing and the show under control.
Wacky, quacking and hard jamming “Heavy Duty Judy” not on the spotlighted albums got the near-three hour long, non-stop festivities underway featuring Dweezil insanely wailing away. Zappa’s comical and well known, “Don’t Eat the Yellow Snow,” “Nanook Rubs It,” “St. Alfonzo’s Pancake Breakfast,” and “Cosmik Debris” with guitarist Lyle Workman helping out were all from Apostrophe. They had the crowd reveling and of course singing along.
Instrumentally, the players served up songs from Roxy & Elsewhere. The explosive fused/classical/jazz “Echidna’s Arf (Of You)” was remarkably embellished by Gonzalez’s saxophone and duck quacks. The band also took detours from the featured recordings with flailing “Approximate” with guest drummer Chad Wackerman, a former Zappa bandmember, who was on the original recording. Notably, it was shadowed by both an a cappella and whimsical dance versions featuring the bandmembers, except Dweezil and the drummer who was playing. Incidentally, Gonzalez won the contest and got a bottle of champagne.
Most noteworthy was the Zappa symphonic composition “Semi-Fraudulent/Direct-From-Hollywood Overture” full of off-beat wordless singing and thrashing from the 1971 200 Motels film soundtrack that Zappa wrote and directed and was performed live for the first time. Additionally, a merging of “A Pound For A Brown” and “Twenty One” from 1969 Uncle Meat and Chicago ‘78 was the most jazz oriented tune played, featuring frantic and impressive saxophone playing from Gonzalez.
But overall, most of the show overflowed with Zappa’s signature irreverent songs like “Pygmy Twylyte” that included humorous touches of Steve Miller’s “Time Keeps Slipping Away,” a funky take on Deep Purple’s “Space Turkey” and the Darth Vader’s theme song. “The Idiot Bastard Son” was melodramatic and featured Victor’s nuanced and bluesy singing, along with sweltering guitar runs. While, obscure “Punky’s Whips” influenced by former bandmember Terry Bozzio’s astounding drumming, both featured and ridiculed Tabori “the new cute guy in the band.”
For the encore, with the audience still wanting more, Wackerman rejoined the ensemble for “The Black Page,” a dual drum solo with Ryan, doo-wop and reggae flavored “Sharleena,” and high octane guitar revving “Zomby Woof” from Overnight Sensation. The bonus songs generated an ecstatic standing ovation and clearly showed Zappa’s fans are hungry for his music. For more info go to: www.dweezilzappa.com and laorpheum.com
Herbie Hancock’s Chameleon recorded and released in 1973, became one of the best-selling albums in jazz history and according to Rolling Stone, “one of the greatest of all time.” At that juncture, Hancock was already well-established as a superb keyboardist/composer through a long association with Miles Davis, also as solo performer with a catalogue of mainstream jazz hits, and with own groups that included the jazz/avant-garde Mwandishi ensemble.
During the late ‘60s into the ‘70s jazz experimentation, utilizing elements of rock, mysticism, Eastern music, classical, electronics and philosophy flourished. Davis was the main progenitor with a cast of young virtuosos whose ideas and compositions were a springboard for him. Among them were Joe Zawinul, Wayne Shorter, Chick Corea, Tony Williams, Billy Cobham, and Hancock during the early stages.
Other musicians not in the Davis employ, but going in the same direction were Larry Coryell, Jean-Luc Ponty, George Duke and Frank Zappa. They and Davis’ disciples all moved on to create their ground-breaking groups that often rivaled and sometimes surpassed the trumpeter in terms of sales and popularity.
Hancock, after disbanding the complex and nebulous sounding Mwandishi band, sought to reach people, especially Afro-Americans. He came up with something the other fusion bands rarely explored—danceable funk and R&B, influenced by Sly & The Family Stone, Curtis Mayfield, The Pointer Sisters and James Brown. With drummer Harvey Mason, saxophonist Bennie Maupin (previously inMwandishi),percussionist Bill Summers, and bassist Paul Jackson, Hancockcreated Headhunters music incorporating layers of jazz, funk and light improvisation that became immediately successful (platinum-certified) and highly regarded up to present times. As a sidenote, the band and Hancock’s music is a reliable source for hip-hop producers and pop performers.
Additionally, college and high school brass bands regularly play “Chameleon.” The Head Hunters with a different lineup recorded other albums after the extremely successful Chameleon and Hancock was not involved with any of them.
At the Hollywood Bowl, the ever-imaginative Hancock reunited for a 50 year anniversary concert (possibly the only one), with the original Headhunters bandmembers. Bassist Marcus Miller played in place of Jackson who passed away in 2021. Making the occasion even more momentous, basketball legend and lifelong jazz fan Kareem Abdul Jabbar gave the introductory remarks and introduced the bandmembers, and amusingly forgot Hancock.
Summers in the role of a jazz shaman chanted and played a bottle in flute-like fashion with Maupin on flute complimenting for the intro of the Afro-jazzy and funky “Watermelon Man.” The other bandmembers joined in and coolly grooved along to the easy flowing classic, featuring Devin Daniels spiraling on soprano saxophone and the bandleader on Fender Rhodes mellowly soloing, while keyboardist/programmer Julian Pollack (J3PO) added layers and effects.
“Sly,” “Vein Melter” and “Palm Grease” were even more Afro oriented and took the audience on a thrilling cruise down the Nile with exciting and exotic side trips. The album’s tunes eventually transformed into the very familiar and ethereal “Butterfly” featuring Maupin on soprano and Miller on bass clarinet serenely coalescing, along with Hancock’s expansive keyboard playing.
Naturally, immortal “Chameleon” concluded the set and featured the ageless bandleader playing his strap-on synthesizer. The well-known tune included powerful brass choruses and solos from Maupin and Daniels, and an irrepressible backbeat from Mason, Miller and Summers to thrill the audience and drew a zealous standing ovation.
The second half of the special concert was equally long (75 minutes) and featured Hancock’s current band, Terence Blanchard-trumpet, Lionel Loueke-guitar, Jaylen Petinaud- drums and James Genus-bass. Their program was somewhat conventional for them. It incorporated atmospheric and melodic hodgepodge “Overture” propelled by Petinaud, Blanchard’s throbbing arrangement of Wayne Shorter’s classic “Footprints,” and “Secret Sauce.” It spotlighted Loueke’s amazing African styled wordless singing as the band blazed away.
The exceptions to the set were the Headhunters and Hancock’s new band playing together for the hot and assaulting “Actual Proof.” He originally composed the tune for the 1973 film The Spook Who Sat by the Door and each group performed it successively and somewhat competitively. As the bandleader eluded beforehand, the present-day group plays a lot faster. To end the set and show the Headhunters rejoined the current Hancock band for an abbreviated and much denser rendering of “Chameleon,” much to the audience’s delight. For more info go to: www.herbiehancock.com, www.theheadhunters.band and www.laphil.com
From day one, Portland-based orchestral Pink Martini reveled in the diversity of languages and genres throughout the world. Now, many years later, the ensemble co-led by pianist/composer Thomas Lauderdale with vocalists China Forbes and Storm Large are as dynamic and quirky as ever, having a lot of fun and invigorating audiences. At the Hollywood Bowl, the popular and very expansive orchestra celebrated their 30th anniversary. In commemoration of that, a video was shown that revealed their humble beginnings and DIY mantra to maintain control of their music and persona.
In action, Lauderdale and crew had a mission to play songs spanning 30 different languages and wave the flag of the country associated with it. Interestingly, they began with an English version of Brazilian Ataulfo Alves’ pop hit “Tempo Perido,” first popularized by Carmen Miranda and powerfully sung by Forbes.
Actually, their cover of “Sympathique,” a big hit in France began the language fête. Unfortunately, it wasn’t under public domain and the band got sued for copyright infringement, which in hindsight is now funny. For Neapolitan Italian, sweepingly orchestrated ballad “Ninna Nanna” with Forbes energetically out front.
Contrarily, flamenco styled “¿Dónde estás, Yolanda?” was in Spanish and enthusiastically sung by percussionist Timothy Nishimoto. Equally, rousing was Large dancing about while doing “Bella Ciao” in Italian with spirited accompaniment and choruses from the ensemble. She followed it with melodramatic “Kaj Kolah Khan” sung in Romanian.
For fun, a key element of any Pink Martini concert, Franz Schubert’s “Fantasy in F minor For Four Hands” with pianist Hunter Noack, silky strings for Gloria Gaynor’s disco hit “I Will Survive” and a Havana 1952 backdrop were mashed for “And Then Your Gone.” Storm portrayed a jilted and frustrated lover for the crowd’s amusement. Ari Shapiro from NPR was Lorenzo the “cad” and answered singing “Now I’m Back” as he nonchalantly danced with her.
For something a bit different, cantor Ida Rae Cahana, who was on the band’s 2010 Christmas album Joy to The World, made a guest appearance and did some Jewish numerology. After doing calculations she summed up that for 30 years Pink Martini has been opening hearts all over the world. She urged the audience to wish them a mazel tov with light from their phones and afterwards sang “Elohai N’tzor” in Hebrew, with all the band’s singers backing her.
Additionally, singer/guitarist Edna Vazquez was featured doing her arresting and soulfully sung folk/pop tune “Sola Soy.” Lauderdale’s Portland surf-punk friends Satin’s Pilgrims joined him and the assembly for a raucous version of Rhapsody in Blue. Wrapping up the very heterogeneous and memorable evening, Forbes endearingly sang her groovy 90’s pop hit “Hey Eugene,” and the whole ensemble festively performed “Brazil,” with the inspired audience forming a “conga line.”
Getting the whole thing started was the unconventional singer/multi-instrumentalist Andrew Bird. He underscored songs from his latest album, jazz standard oriented Sunday Morning Put-On. A versatile artist who also intersects with indie rock, classical and folk music, Bird with Alan Hampton-bass/guitar/vocals and Tim Horne-drums/vibes injected his pizzicato violin playing, prairie trail-like whistling and lingering vocals.
He casted a spell on the audience with haunting interpretations of “Softly, As in a Morning Sunrise,” “I Fall in Love Too Easily” and “You’d Be So Nice to Come Home To.” Diverging from the lovable songs was Ellington’s “Caravan,” done as a gypsy-like romp with touches of thrashing, and original “Why” that displayed the angst of a tormented lover.
Toward the end of the stirring set singer/guitarist Madison Cunningham joined Bird to sing folk/pop “Crystal.” It was from the breakout (Lindsey) Buckingham /(Stevie)Nicks 1973 classic rock record. Bird and Cunningham recently covered it for a collaborative project. For more info go to: pinkmartini.com, www.andrewbird.net and www.laphil.com
Since her teen years in São Paulo, Brazil, pianist/vocalist Eliane Elias has been a stellar musician, who comfortably flows between jazz, classical, bossa and other genres. In the last decade, the Brazilian has been on a roll, winning a Grammy in 2015 for Made in Brasil, a Latin Grammy in 2017 for Dance of Time, and another Grammy in 2021 for duets album Mirror Mirror with her piano heroes, Chick Corea (prior to his passing) and Chucho Valdes.
For 2024 newly released Time And Again Elias revisits her Brazilian origins, while also displaying musical prowess and openness in the realms of R&B and pop. Returning to Catalina, the pianist/singer showcased songs from the new album, along with some of her previously recorded tunes. Elias led things off with glistening bossa samba playing and band interaction for “To Each His Dulcinea” from her 2018 recording Music from Man of La Mancha.
Going back to the 2015 Grammy-winning record was the well-known “Brasil (Aquarela do Brasil)” that featured her vibrant singing and playing, fluidly supported by sidemen Marc Johnson-bass/husband, Rafael Barata-drums/percussion and Leandro Pellerino-guitar, which drew strong audience reactions. “Falo Do Amor” from the current album about her love for her granddaughter brought things up to date, and also was adorned with the bandleader lush vocals and exquisite piano chops, along with solos/tradeoffs from guitar, bass and drums.
For something a little different, Elias sang and played piano with her band unamplified for “Você e Eu (You and I),” but still was very dynamic. They replicated the feeling of early bossa nova that was acoustically created in the musicians’ apartments during the late ‘50s. Also with the same vibe were Dorival Caymmi’s “Eu Sambo Mesmo (I Really Samba)” and “Bahia Medley: Saudade da Bahia/Você Já Foi á Bahia” with the bandleader only singing with guitar and light percussion, until she finished on piano.
Concluding the Brazilian queen’s high caliber performance was bossa nova’s original tune “Desifinado.” It began with an exquisite lyrical solo piano intro. Walker took over afterwards with an extensive walking and melodic solo that propelled the other players to solo intensely as well. Overall, Elias sang gorgeously, played muscularly and skillfully educated the audience to receive an unbelievable standing ovation that commanded an encore. It included rousing bebop and blues forays, along with a playful rendition of “So Danco Samba” with the audience interactively singing along and the band’s explosive improvisations. For more info go to: elianeelias.com and catalinajazzclub.com.
It’s often said, “in order to sing the blues, you have to have lived the blues.” Grammy Award nominated, multi-Blues Music Award-winner and The Blues Foundation’s B.B. King Entertainer of the Year (the second woman honored, after Koko Taylor) singer and author Janiva Magness has done that many times over. It’s well documented in her 2019 book Weeds Like Us, and whether on record or live, the Detroit-born artist’s music conveys cutting rawness and deep emotions.
At Apogee Studio in Santa Monica, filled with attentive and engaged listeners, Magness recorded a live record to fully capture her unedited and unprocessed. She called it a “time travel” encompassing songs from her 16-album catalogue. Urban blues Bury Him at the Crossroads, title track of the singer/author’s 2004 record started the session with reverbing electric piano and fiery singing. While “It Ain’t No Such Thing as a King Bee” from 1987 It Takes One to Know One recorded with Jeff Turmes was Delta-styled and full of attitude.
Shifting things up-tempo was “Judgement Day” from Magness’ 2014 More Than Live record that was filled with juke-jumping piano and guitar soloing, along with barrel-house soulful singing. Along the same lines was My Bad Luck Soul the name of her 1999 release that featured her and the guitarist cutting loose and rocking the house.
For more variety singer Bernie Barlow joined her 2010 Bonnie Raitt-like “Slipped, Tripped and Fell In Love” from The Devil is an Angel Too that was also garnished with hot organ and guitar playing. She also helped Magness on soul/gospel ballad “I Won’t Cry” from 2012 Stronger For It that resembled Mavis Staples and rocking “Still in Love With You” with the featured singer blowing the roof off.
Also, in the vein of ballads Magness torched the studio with 2022 Hard to Kill influenced by her book, and “Let Me Breathe” from 2014 Original. She took the crowd to church for Etta James-styled “You Were Never Mine” from her 2006 recording Do I Move You. Truthfully, the session could have ended there and the audience would have been fulfilled. Magness continued with many more songs, including Pops Staples-styled The Devil is an Angel Too, Grammy-nominated 2016 Love Wins Again and the very heartfelt “Things Left Undone” from Stronger For It.
One thing is for sure, Magness doesn’t go lightly into the night. She admitted, “I can’t sing a song unless it has a deep meaning for me, and sometimes they hit me in the heart like a ball-pin hammer.” The new live album is slated for a spring 2025 release. For more info go to: www.janivamagness.com, blueelan.com and https://apogeedigital.com/apogee-studio/
Saxophonist Chris Potter was among the wave of talented young players to burst of the scene in the early ‘90s. His ambitious counterparts included saxophonist Joshua Redman, bassist Christian McBride, drummer Brian Blade, pianists Brad Melhdau, Jason Moran and Vijay Iyer, guitarist Kurt Rosenwinkel, vibraphonist Stefon Harris, and trumpeters Roy Hargrove and Terence Blanchard. Presently, with the exception of Hargrove (died 2018) the dynamic musicians are all well-established, highly regarded and impactful.
At the Nimoy Theatre as part of the Jazz Bakery’s Moveable Feast Series, Potter, a stellar sideman and bandleader who embodies an astounding mix of Coltrane, Charlie Parker and Michael Brecker’s styles performed with his trio. It consisted of drummer Kendrick Scott and bassist Matt Brewer. After a charming introduction by the Jazz Bakery’s Founder and President Ruth Price, Potter’s group unleashed their controlled fury through bebop/New Orleans melding tune “Rampart St. Assembly.”
“All Play” interwove the sidemen’s Caribbean rhythms that included a lengthy bass solo, with the bandleader’s scorching neo-bop motifs. Potter took things further out with another new tune “Cuyo” and noticeably worked up a sweat. For a brief break Brewer supplied a vigorous solo intro for the ballad “Voices Remembered,” with Scott and bandleader eventually joining in.
For the title track of his latest project Eagles Point, influenced by San Francisco’s coastal views by the Golden Gate Bridge, Potter, played flute and sax, while utilizing a sampler for layers during its opening segment. Afterwards, things shifted to nuanced and explosive neo-bop that amazed the audience.
For a change to more traditional playing was Billy Strayhorn’s “My Little Brown Book” that included a stretch of Potter playing solely and segued into “Release Relief” with the other players also blazing away for solos to elicit cheers and shouts from the audience. Continuing in that mode and wrapping up the invigorating set was a jaunting and extensive version of “Pick Yourself Up” to receive a very enthusiastic standing ovation. For more info go to: www.chrispottermusic.com and www.jazzbakery.org.
The Grammy Museum celebrated the release of Nat King Cole’s Live at the Blue Note Chicago with a panel moderated by Music Journalist Steve Hochman. It included restoration Audio Engineer and Producer James Sáez, Michael Bearden, a two-time Emmy-nominated Musical Director for Lady Gaga, Michael Jackson, Madonna and Jennifer Lopez, and Producer/Multi-instrumentalist/Singer-songwriter Dapo Torimiro. He’s written and played with Justin Bieber, Frank Ocean, Lauryn Hill, and Aretha Franklin. They discussed the creative process behind the album, Cole’s life, with a remarkable behind-the-scenes mosaic of photos and videos throughout the legendary Grammy-winner and Rock And Roll Hall of Famer’s career.
The original recordings by then club owner Frank Holzfeind from his personal never-before-heard collection took place during the week of August 28, 1953. It captured a pivotal point in Cole’s career, who was born in Alabama and at four moved to Chicago. He was still playing piano and singing in trio/quartet settings and had achieved considerable success with a string of chart-topping hits (mostly on Billboard’s Harlem charts).
Concurrently, he was slowly transitioning from being primarily a jazz pianist who was coerced into singing, to being a pop singer, who occasionally played piano. Additionally, he had already recorded several of his best known songs, “Unforgettable,” “Mona Lisa,” “The Christmas Song,” “Route 66,” “Nature Boy” and “Straighten Up And Fly Right.”
What had not happened yet for the gifted singer/pianist, was being the first Afro-American to host a national television show, movie roles beyond just performing and rising in popularity to the level of Frank Sinatra, Dean Martin, Perry Como and Peggy Lee. Cole with John Collins-guitar, Charlie Harris-bass, and Lee Young-drums, was not quite a pop star during the recording at the newly integrated venue (the pianist/singer refused to play at segregated ones), and was adept at performing in clubs and interacting with the attendees.
Sáez made a point of leaving in banter, ambient club sounds, the singer’s charm and improvisation audibles. The engineer/producer also noted that Cole and his players were developing and revising songs throughout the week-long engagement and also designating certain ones for only the weeknight crowds and others for the weekenders. Interestingly, “Straighten Up And Fly Right” was only performed once and on the last night.
Bearden, and Torimiro, who was born in Nigeria related to Cole’s evolution, musicianship and connecting with large audiences, yet maintained his incredible artistry. Both of them also commented about racism, technical aspects of the musician’s playing and his evolution to being a professional. Additionally, playing less notes and making more money was mentioned, which got laughs from the audience. Also, being a “sellout” as a musician was mentioned and drew parallels to Aretha Franklin. She also was an incredible pianist and mostly focused on singing throughout her career.
Q&A with the audience covered the current state of music in general and what is appreciated, mediocrity (participating trophy era), lost craftsmanship, lack of melody, musicians playing together regularly and saving music. For more info go to: natkingcole.com and grammymuseum.org.
Los Angeles’ longest-running jazz club, the Lighthouse, first showcasing jazz in 1949(became the Lighthouse Café in 1981), adjacent to the Hermosa Beach Pier, recently celebrated its 75th Anniversary. Commemorating the milestone occasion was a special jazz brunch show that teamed up two of the venue’s regular solo artists, emerging vocalist Lia Booth and veteran guitarist/educator/jazz activist Jacques Lesure. To the morning crowd of regulars, fans, friends and new attendees they served up easy-flowing standards propelled by charming banter and singing, and zesty strumming.
In the mix of breezy tunes played were “Blue Skies,” “East of The Sun And West of Moon” and “I Wish You Love” also featuring Lesure soloing. A bouncy version “All of Me” garnished by Booth’s joyful scatting, and call and response with her bandmate drew strong applause. Equally compelling was lively “Lullaby of Birdland.” Requests from the audience included “Blue Moon,” “When I Fall in Love,” “It Don’t Mean a Thing,” “Bésame Mucho” sung in Spanish and English and “Summertime,” all with gentle accompaniment from Lesure.
The Lighthouse back in the day was famous for its All-Star house band that included legends, tenor saxophonist Bob Cooper, trumpeter Conte Candoli and drummer Stan Levey. Additionally, Shorty Rogers, Richie Kamuca, Bill Holman, Bud Shank, Shelly Manne, Jimmy Giuffre and even Max Roach (briefly) rotated in and out of the loose-knit group. Among the luminary guest musicians featured were Chet Baker, Gerry Mulligan and Miles Davis.
What also made the beloved club significant was the abundance of live albums recorded there. The plentiful list included Art Pepper, Lee Morgan, Cannonball Adderley, Mose Allison, Ramsey Lewis, Art Blakey, Charles Earland, Grant Green, Elvin Jones, Cal Tjader, the Modern Jazz Quartet, The Three Sounds, the Jazz Crusaders, and Joe Henderson. Additionally, in the late ‘50s the Lighthouse sponsored an inter-collegiate competitive jazz festival. Among the winners were heavy-weights Mike Melvoin and Les McCann.
Unquestionably, the Lighthouse Café has a very colorful history and is a lot more than just a backdrop for the films, multi-Oscar-winning rom-com 2016 La La Land and 1990 Sideout, a lesser-known dram/rom/com movie about beach volley ball competition. For more info go to: www.thelighthousecafe.net, www.liabooth.com and jacqueslesure.com.
Like the finest of wines, octogenarians, vocalist Mary Stallings (85) and saxophonist Houston Person (89) just keep getting better and better. Their excellence was showcased as part of the Jazz Salon’s concert series, with a special matinee engagement at the historic women-founded Ebell of Los Angeles’ stately ballroom that adjoins the Wilshire Ebell Theatre.
The saxophonist with backing musicians, bassist/concert promoter Dave Ross, drummer Lauren Ellis, and pianist John DiMartino opened with captivating renditions of “My Funny Valentine,” “The Nearness of You” and “On The Sunny Side of The Street.” Their segment could have easily been a show, and in fact, the quartet performed again that night at the Jazz Salon’s regular venue, the Los Angeles Athletic Club.
Stallings, like a regal queen came on stage afterwards to captivate the near capacity crowd with her supple singing and amiable banter. Lighthearted “Don’t Get Around Much Anymore,” and soothing ballad “Close Your Eyes” were the first songs with Person and the band that quickly established few can rival her extraordinary abilities and timeless style. Also, in ballad mode was “It Could Happen to You” that was adorned with Person’s and DiMartino’s slow-burning solos, along with subtlety sung “Bewitched” and “Lush Life.”
Breaking out of standards was the singer’s tantalizing and bluesy vocalese version of Stanley Turrentine’s soul/jazz classic “Sugar,” featuring the saxophonist and quartet coolly grooving, along with Leon Russell’s “Masquerade.” While, “Someone Like You,” and Ellington/Juan Tizol’s almost ’90-year-old “Caravan” possessed impressive verve and an audience astounding close from Stallings. Nonetheless, “I Want a Sunday Kind of Love” best epitomized the living legend’s mastery and received a fervent standing ovation. For more info go to: marystallingsjazz.com, Facebook for Person and jazzsalon.org.
Organist Brian Charette is a transplanted east coaster making strong inroads in So Cal and has been on its Posi-Tone label since 2014. On the national jazz scene, he won Downbeat Rising Star: Keyboard poll category and landing the second slot for this year’s Downbeat Critics Poll for Organ. Additionally, the new LA resident has worked with a wide swath of artists.
They range from The Allman Brothers Band’s drummer Jaimoe, NEA Jazz Master George Coleman, Joni Mitchell, Chaka Khan, Lou Donaldson, Oz Noy, Los Lobos’ David Hidalgo and Cougar Estrada, Laura Branigan, Cyndi Lauper, Joe Jackson, Michael McDonald, and Michael Bublé. Charette also performed on the Martha Stewart Show, Tony Danza Show, Conan O’Brien Show, Last Call with Carson Daly, and had a recurring role as a pianist on The Guiding Light.
At Sam First the organist did his first show as a leader and local resident in LA that he called a “House Warming,” with guitarist Will Brahm and drummer Andy Sanesi. They showcased numbers from Charette’s various recordings. “Time Change” from his Square One project got things happening with soulful grooving and fiery band interaction, including solos from the bandleader and guitarist. While, the following piece led off with Brahm soloing and Charette injecting somewhat explosive motifs, with a drum tradeoff closing it out.
For more variety, Shirley Scott’s “Buster Brown” was a total funk/soul jam with the bandleader wailing away, Sanesi strongly accenting and guitar injecting snarling runs to impress the audience. Alternately, “White Lies” a composition he wrote for a Czech Republic film was very melodic and easy flowing. Furthermore, straight-ahead oriented “Tadd’s Delight” was dedicated to Coleman, whom Charette regularly records and performs with.
Sanesi who turned in thundering call and response for end of the last selection, showcased his own cascading “The Illusion of Reprise” that was filled with lingering guitar and organ runs. Closing out the enjoyable set was Lalo Schifrin’s super funky boogaloo tune “The Cat,” featuring young and upcoming saxophonist Aidan Farrell and the trio all working out. For more info go to: www.briancharette.com and www.samfirstbar.com.
San Jose Jazz Summer Fest 2024 stayed on course for its mission of presenting a multi-genre array of musical artists for attendees to discover, enjoy and connect with over a hot three-day weekend. In addition to well established national and international marquee performers, the festival showcased a high percentage of Bay Area talent who rarely travel to So Cal.
Saxophonist/educator Kristen Storm’s Quintet held court doing breezy original “Summer Night” that showcased her stellar soprano playing and band cohesion. In honor of her father and biggest fan who recently passed away, a somber duet version of the Beatles’ “Blackbird with her guitarist husband, Scott Sorkin was pleasantly rendered. Special guest, trumpeter Skylar Tang, destined to be a jazz star, joined the band with a broken leg for Woody Shaw’s explosive arrangement of Wayne Shorter’s “United,” the bandleader’s somber “Soldier” and Joe Zawinul/Cannonball Adderley’s super swinging “Scotch And Water.”
Another Bay Area institution was the regal Miss Faye Carol with young drummer Charles Haynes. Notably, Carol has worked with Marvin Gaye, Ray Charles and Pharaoh Sanders. She both thrilled and educated the audience with an enthralling mix of jazz, blues, R&B and cabaret. Trombonist Michael Davis’s Hip-Bone Big Band served up astonishing original compositions by himself and his bassist son Cole. Among them were dazzling brass foray and solo laden “Underdog,” and thematic “Open City.”
Similarly, Synchronicity, directed by flugelhornist and Santa Clara University Professor Jerry Kroth with musicians formerly from highly regarded Bay Area ensembles played charts by Quincy Jones, Miles Davis and Stan Kenton with innovative flair. Alternatively, guitarists Mason Razavi and Terrence Brewer, with bassist Gary Brown and drummer Sylvia Cuenca honored Monk, by doing his classics with their own arrangements and spinoffs.
Santa Cruz-born pianist/composer Pascal Le Boeuf, Grammy Award-nominated and currently an Assistant Professor of the Practice of Music and Technology at the Vanderbilt University Blair School of Music, illuminated his Ritual Being group. His forward-thinking and also personal creations encompassed jazz, classical, avant-garde and electronica.
In contrast, Berkely raised, national and international artist, Benny Green was total “old school,” playing solo piano excursions of stride, bebop and standards. He captivated the audience with the tender ballad “Once Upon a Time,” Bobby Timmon’s rollicking hard-bop gem “Dis Here” and bluesy “No Smokin’” by Horace Silver.
In the vein of Brazilian music was emerging SF duo, singer/trombonist Natalie Cressman and vocalist/guitarist Ian Faquini. Cressman’s parents, Sandy and Jeff, whom she also performs with and are stewards of South American music, and Faquini is on the faculty of the California Jazz Conservatory. They performed delightful and very melodic bossa, churro and even rock songs, such as Blind Faith’s “Can’t Find My Home” (also covered by Gilberto Gil). It was beautifully sung and adorned by Cressman’s trombone playing, and the pair equally shined on Faquini’s stirring jazzy/bossa composition “The Blessing.”
Louisiana music by way of Northen California came from virtuoso French-Creole accordionist Andre Thierry who was born and raised in Richmond. He impressed festival attendees with high-octane Cajun and zydeco music fused with classic R&B, old-time gospel and New Orleans trad songs. Whereas, Dr. John influenced keyboardist Greg Rahn & the Fat Tuesday Horns, hailing from American Canyon, north east of San Francisco, served up high-flying originals “Boogie Flambeau” and Latin-tinged “Congo Square.”
Jumping to the continents of Africa and Europe was The Pascal Bokar AfroBlueGrazz dectet. It was communal-like and rootsy with the University of San Francisco professor/bandleader/guitar/singer Bokar heartily delving into a crowd-pleasing mix of gypsy, blue grass, funk and African styled jam-like selections. Also in the regard, with more emphasis on universality, Latin and pop and American R&B was Benin-born international superstar vocalist/dancer/humanitarian Angélique Kidjo. She blew the audience away with an expansive version of the Talking Heads “Once in a Lifetime,” African-beat driven “Meant For Me” and prayer to world “Choose Love.”
Representing So Cal and beyond was David Benoit’s Quartet-turned trio consisting of Roberto Vally-bass and Dan Schnelle-drums. They were a big hit with the audience, spotlighting tunes from the pianist’s newest release, Timeless withcontemporary tunes such as “Drive Time,” bossa-tinged “Café Rio” and “Savannah Dreams,” along with the mainstream piece “Spring Dreams” from another album.
Herbie Hancock with his monstor quintet, James Genus-bass, Jaylen Petinaud-drums, Lionel Loueke-guitar and Terence Blanchard-trumpet skyrocketed with their customary, yet crowd-dazzling cross pollination of genres. Included was Blanchard’s riveting arrangement of Wayne Shorter’s “Footprints,” atmospheric/vocorder-driven “Come Running to Me” and of course, Hancock’s funk/fusion blockbuster “Chameleon.” While, Dolphin Hyperspace an electro-jazz duo consisting of saxophonist Nicole McCabe and bassist Logan Kane also from LA, produced hard to resist high energy electro/funk/fusion jams with touches of modern soul.
Alternatively, Jane Monheit, from LA, by way of Manhattan, melded Broadway with the jazz canon. Her cohorts for the program were Max Haymer-piano, Karl McComas Reichl-bass and Dan Schnelle-drums doing double duty subbing for Rick Mantalbano. The cloud soaring singer and band made an impact on the audience with excellently rendered, Sondheim’s “Not a Day Goes By,” Disney jazzed up “In a World of My Own,” standard “Night And Day” and Ivan Lins’ yearning ballad “My Country.”
Italian-born Roberta Gambarini majestically sang, scatted and enchanted the audience, supported by her stellar quartet. It was made up of top LA musicians, Tamir Hendelman-piano, Chuck Berghofer-bass and Roy McCurdy-drums. Among the appealing timeless songs, she spotlighted was a gorgeous a cappella version of “Where is The Love.” With the band were Rahsaan Roland Kirk’s “Theme for the Eulipions,” Dave Brubeck and wife Iola’s lyrics “In Your Own Sweet Way,” and in Portuguese Jobim’s lesser-known “The Last Spring” and bossa founding “Chega de Saudade (No More Blues).”
Totally in her own stratosphere was Montreal-based JUNO award-winning singer-songwriter Dominique Fils-Aimé. Her music was a fascinating melding of metaphysical, social consciousness, sensitivity and African diaspora with sweeping backdrops of world, electronica, fusion, and neo soul. In essence, the Canadian is a 21st century merging of Nina Simone and Miriam Makeba.
In strong contrast was NIKARA (Warren) presents Black Wall Street by the Brooklyn-based vibraphonist/composer/arranger and also Kenny Barron’s granddaughter. Backed by a versatile quartet she took the audience on an intoxicating voyage of contemporary jazz, neo-soul and Latin flavored grooves. Songs highlighting the set were Marvin Gaye’s “Inner City Blues,” Ahmad Jamal’s “Poinciana” and the bandleader’s vocalist sister Be.Be super soulfully singing “Don’t Let Me Be Misunderstood,” first recorded by Nina Simone in 1964.
Impressing the audience in a different way was quickly rising pianist Sean Mason, born and raised in Charlotte, NC and under the guidance of Branford Marsalis there, and in New York at Julliard with Wynton Marsalis. Aided by Tony Glausi-trumpet, Dominick Branch-drums and Felix Moseholm-bass, the bandleader didn’t blow listeners away with high-revving playing. Instead, he soothingly luxated with original “One United,” lengthy trad-played “On The Sunny Side of The Street” and other pieces.
For something a little different, British singer/bassist Janet Evra, now based in St. Louis presented songs from her new album, Meet Me in Paris. It was refreshing and the set included sidemen Will Buchanan-guitar/husband, Tim Moore-drums and Adam Maness-keyboards. Evra delighted the audience with cheerily French sung covers of “C’est Si Bon,” “Turnaround / Suis-Moi” (in English and French), “Sympathique” with audience participation, and her original “Paris.”
From a partying perspective, Delfeayo Marsalis & the Uptown Jazz Orchestra rolled out New Orleans fashioned jazz, second line and brass band deviations. The NEA Jazz Master and Grammy Award-winning trombonist bandleader was in great form and sizzled with his incredible bandmates for traditional and modern jazz numbers, including the aptly titled “Jazz Party.” Lower 9th Ward trumpeter/vocalist/composer/producer Shamarr Allen had some jazz orientation, but leaned much more to hip-hop, funk and modern soul. With songs like “Dance With Me,” “You Ain’t My Date” and “Weekend Dance” he captured the attention and hearts of the audience.
Latin music also had a strong presence and was mostly showcased on a stage solely designated to the genre. The featured groups and artists were quite diverse and from all over. East LA’s Las Cafeteras brought an eclectic melding of traditional Mexican folk songs, Afro flavoring, rock and hip-hop.
The three-time Grammy Award winning Spanish Harlem Orchestra provided outstanding big band salsa and jazz perfect for dancing. The performed admirably without their bandleader and founder pianist Oscar Hernández who was too ill to make the trip. Eddie Palmieri disciple, trombonist/singer/dancer/composer/producer Jimmy Bosch closed things out by performing New York Style Afro Caribbean music known as “Salsa Dura” that featured irresistible rhythms and powerful singing.
For more variety and a change of pace for non-jazz oriented attendees, nine-time Grammy-winning Maze, honoring now-retired original legendary singer Frankie Beverly was the festival highlight. With new lead singer and San Jose Jazz Board member Tony Lindsay, the almost 55-year-old band took the audience down memory lane with Philadelphia soul hits “Southern Girl,” “I Want to Feel I’m Wanted” and immortal classic “Joy And Pain.”
The 45-year-old British-based soul/acid jazz collective Incognito, directed by singer/guitarist/composer/producer Jean-Paul “Bluey” Maunick was slightly younger. They thrilled everyone with a cover of Stevie Wonder’s “Don’t You Worry ’bout a Thing,” along with their own cool and melodic songs “Still a Friend of Mine” and “Everything Your Heart Desires.”
While Family Stone, featuring Sly & The Family Stone original saxophonist Jerry Martini and Phunne Stone (daughter of Sly Stone and co-founder Cynthia Robinson) revisited the iconic band’s music of the ‘60s and ‘70s. Among their cavalcade of soul/rocking hits were “It’s a Family Affair,” “I Want to Take You Higher” and the ever funky “Thank You (Falettinme Be Mice Elf Agin).”
Additionally, on the lineup was a large slate of local high school and college big bands and combos, all exhibiting great talent and future headliner possibilities. For more info and to get ready for 2025 go to: summerfest.sanjosejazz.org.
Often to make a breakthrough in life and especially in music, it comes down to having the support of someone who believes in you and can make things happen. For Los Angeles-based singer Natalie Jacob, Scotty Barnhart, a multi Grammy-winning trumpeter and Director of the world renowned Count Basie Orchestra was that person.
Barnhart had been attending Jacob’s shows for many years and thought she had a beautiful voice and was a sensitive interpreter. He had a standing offer of being the singer’s producer when she was ready. During the Pandemic fans at shows began asking for her CDs and it became apparent to Jacob that the time had come for her to make a recording.
The singer was definitely seasoned and ready, having worked with guitarist/Music Director Larry Feldman for her own group, along with Bluenova and Along for the Ride since about 2010. More recently, she was featured with the Paul McDonald Big Band and bossa group Corcovado.
Several years later the project, Sooner or Later came to fruition and she celebrated its release at Catalina. Jacob enlisted many of the same musicians on the CD for the engagement, such as Barnhart, pianist/arranger Tamir Hendelman, drummer Clayton Cameron, and percussionist Kevin Winard. Trevor Ware on bass, a member of the Count Basie Orchestra, and Larry Koonse on guitar provided additional support.
Jacob in the order on the album began with a swinging version of “Exactly Like You” and then exhibited her bossa chops for Jobim’s immortal “Wave” that was further enhanced with a guitar solo. With Ware walking the dog on bass initially, the commanding singer launched into “I Could Write a Book” with trumpet, piano and guitar turning in rousing solos.
Afterwards, she and the players jumped out of order for bossa classic “Corcovado” that was alluringly sung in English and Portuguese. Also, in that mode and later in the set was “No More Blues (Chega De Saudade).” Jacob returned to swinging standards with the crowd-pleasing “East of The Sun” and Cameron showcased his brush skills for the intro of “What a Little Moonlight Can Do” that was adorned by fine singing, muted trumpet playing and perky band play. Also well-received was an impromptu playing of “It Could Happen to You” and “How High The Moon” without the lady of the evening and was bolstered by rousing solos from everyone in the band.
Upon returning to stage, Jacob closed out the set with her sultrily sung title track that also summed the singer’s approach to life, and a lush version “I Got You Under My Skin” that was very far removed from Sinatra. For the encore, it was just the singer and pianist melodiously doing Charlie Chaplin’s timeless classic “Smile.” With a new album under her belt, Jacob displayed a natural ability to excel in a variety of settings. For more info go to: Nataliejacob.com, www.scottybarnhart.com and catalinajazzclub.com
The Celebration of Life Concert for longtime KJJZ and KLON on-air personality (Leonard Parker) Bubba Jackson (1944-2023) took place at The Shell, Recreation Park in Long Beach. Sponsoring the event was of course, his radio station family, along with the Long Beach Blues Society, Acclaimed Entertainment & Arts and Amazon Fresh. A park full of associates, friends and fans all came out to honor Jackson, who also was a popular concert promoter and emcee. In addition to having an impressive knowledge and appreciation of jazz, blues and Latin music, the Harlem-born announcer charmed listeners, concert audiences and musicians with his warm personality and unrivaled off-the-cuff wit and adlibbing.
Most importantly, the celebration peppered with antidotes from his colleagues overflowed with what Jackson loved more than anything else (except maybe food)—music. Blues emceed by KKJZ’s Gary “Wagman” Wagner was represented by the acoustic and Delta drenched Pearl Bailey Band and the Blues Society All-Stars, featuring smoking guitarists/singers Kid Ramos, Lester Lands, Laurie Morvan, Dig Lewis and Tim Russ. Vocalists Marguaret Love, Angela Morgan Vice President of the Houston Blues (TX) Societyalso sat in, with bandleader/keyboardist/singer/concert promoter Bill Grisolia keeping everything together.
Blues headliner Sugaray Rayford who literally just drove in from Arizona was a powerful force. He engulfed everyone in his presence for a quick 20 minute set, while also instructing the band and sound people. Without a doubt the Grammy Nominee and multi Blues Award Winner was totally in his element, firing everyone up with soulful singing, jumping about on stage and roaming around offstage into the crowd as he performed.
Jazz was highlighted by upcoming vocalists, Natalie Jacob’s Quartet with pianist Tamir Hendelman showcasing songs from her new album Sooner or Later, and Valerie Geason swinging hard alongside the John Clayton Allstars. The group also included pianist Sam Hirsh and special guest pianist David Benoit also from KKJZ for the debut of Clayton’s newly composed “Bubba Grooves.”
Also debuting was KKJZ’s Jose Rizo’s new stellar Picoso (small super spicy pepper) band with pianist John Beasley. They played new and older Mongorama and Jazz on The Latin Side All-Stars dressed selections in memory of Jackson, who was a big Latin jazz fan.
Not to be forgotten was the tune Rizo wrote for him “Bubba Boogaloo” that was spiritedly sung and scatted by Darynn Dean, with saxophonist Justo Almario soloing intensely to further excited the audience. The riveting segment ended with Mongorama’s hot descarga “Tin Marin.” Without a doubt, Bubba Jackson would have been very happy with the event—RIP. For more info go to: www.jazzandblues.org
LA Jazz Scene laments the passing of its original Publisher/Editor: Myrna Rose Daniels December 3, 1942 -July 13, 2024
Myrna is survived by three children, seven grandchildren, as well as a great amount of friends and musicians. As a single mother, she worked, attended and graduated from USC. She worked for the HeadStart Program for 20 years. She started as a parent volunteer, then she was hired as a cook and worked her way up—assistant teacher—teacher—area supervisor—expansion coordinator and became the agency’s first Personnel Manager, all the while, raising children and attending school.
At heart she wanted to write, so she decided to create the LA Jazz Scene. She was the publisher and editor. Myrna started the paper after writing the story…Blues For Mr. Monday. She stapled the pages together, took it to a jazz club and passed it out to some of the patrons. Next thing you know, LA Jazz Scene was born. On the side, she produced a record album (vinyl). What an amazing woman and all of her children helped where needed; typing, filing, invoicing, stuffing envelopes and delivering.
None of us were writers, so we did lots of other stuff and we were also parents raising her grandchildren, working our own jobs, managing apartments, etc. We also knew our mom and that she would make the paper a success. She had many wonderful writers and contributors to the paper.
Myrna featured many, many musicians on the cover and in the body of the paper. She launched careers and there are so many, I can’t begin to name them all. The Letter From The Editor was absolutely one of a kind, political, on the pulse of jazz as well and a personal view from Myna. As she always closed her column with “Hang in there” –Myrna—
Robert Comden
November 27, 1946
September 2, 2022
Survived by one brother, one sister and at the time of his death Myrna and the entire jazz community. Bob was a musician playing with many great bands, including Latin bands and was on the back of a Beach Boys album. He also taught music to many up and coming young students. He wrote his column faithfully each month. He let the jazz community know of all the happenings of other musicians. He spent lots of time in jazz clubs shmoozing with them. He was definitely having fun staying in touch his fellow musicians and promoting the music. He took 90% of the photos that were in the paper and had a delivery route at the end of the month. All for the love of jazz.
May these two icons rest in peace, listening to the music they loved. They will be greatly missed.
Liz Hinnerichs (Mryna Daniel’s daughter)
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