Jazz Gumbo Logo

By Chris J. Walker


New Artist ·Victoria Monét

Tyla
African Music Performance
 · Water

Pashto
Global Music Performance
 · Zakir Hussain, Béla Fleck, Edgar Meyer, …

This Moment
Global Music Album
 · Shakti

Colors Of Royal
Reggae Album
 · Julian Marley, Antaeus

The Omnichord Real Book
Alternative Jazz Album
 · Meshell Ndegeocello

ICU
R&B Performance
 · Coco Jones

Jaguar II
R&B Album
 · Victoria Monét

Moonage Daydream
Music Film
 · David Bowie, Brett Morgen

Snooze
R&B Song
 · SZA, Leon Thomas III, Babyface, …

The Diary of Alicia Keys
Surround Sound Album
 · Alicia Keys, George Massenburg, Michael

Jaguar II
Engineered Album, Non-Classical
 · Victoria Monét, Colin Leonard, Neal

Pogue, …
Some Like It Hot (Original Broadway Cast Recording)

Musical Theater Album · Christian Borle, Marc Shaiman, J. Harrison Ghee, …

El Arte Del Bolero, Vol. 2
Latin Jazz Album
 · Miguel Zenón, Luis Perdomo

The Winds of Change
Jazz Instrumental Album 
· Billy Childs

All Things New (Live In Orlando)
Gospel Album
 · Tye Tribbett

How Love Begins
Jazz Vocal Album 
· Nicole Zuraitis

Blanchard: Champion
Opera Recording
 · Yannick Nézet-Séguin, Ryan Speedo Green, Eric Owens, …

Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022)
Tropical Latin Album
 · Rubén Blades, Roberto Delgado & Orquesta

SOS
Urban Contemporary Album
 · SZA

Blood Harmony
Contemporary Blues Album
 · Larkin Poe

Joni Mitchell at Newport
Folk Album
 · Joni Mitchell

Oppenheimer
Score Soundtrack for Visual Media
 · Ludwig Göransson

Good Morning
Traditional R&B Performance
 · PJ Morton, Susan Carol

Refugee
Song For Social Change
 · K’naan, Steve McEwan, Gerald Eaton

The Light We Carry: Overcoming in Uncertain Times
Spoken Word Album
 · Michelle Obama

Weathervanes
Americana Album
 · Jason Isbell and the 400 Unit

X Mí (Vol. 1)
Latin Pop Album
 · Gaby Moreno

As We Speak
Contemporary Instrumental Album
 · Zakir Hussain, Béla Fleck, Edgar Meyer, …

Basie Swings The Blues
Large Jazz Ensemble Album
 · Count Basie Orchestra, Scotty Barnhart

Thomas Adès: Dante
Orchestral Performance
 · Gustavo Dudamel, Los Angeles Philharmonic

Génesis
Regional Mexican Music Album
 · Peso Pluma

New Beginnings
Regional Roots Music Album
 · Buckwheat Zydeco Jr., The Legendary Ils Sont Partis Band

Live: Orpheum Theater NOLA
Regional Roots Music Album
 · Louisiana Philharmonic Orchestra, Lost Bayou Ramblers

All My Love For You
Traditional Blues Album
 · Bobby Rush

Walking in the Dark
Classical Vocal Solo
 · Julia Bullock, Christian Reif

So She Howls
New Age Album
 · Carla Patullo

Technical · Tom Scott

Technical · 
Tom Kobayashi

City of Gold
Bluegrass Album
 · Molly Tuttle, Golden Highway

Dear Insecurity
Americana Performance
 · Brandi Carlile, Brandy Clark

Eve Was Black
American Roots Performance
 · Allison Russell

Passion for Bach and Coltrane
Classical Compendium
 · Imani Winds, Harlem Quartet, Mark Dover, …

Cast Iron Skillet
American Roots Song
 · Jason Isbell

Written In Their Soul: The Stax Songwriter Demos
Historical Album 
· Mason Williams, Cheryl Pawelski, Deanie Parker, …

The Light Inside
Spoken Word Poetry Album
 · J. Ivy

Mañana Será Bonito
Música Urbana Album · Karol G
Vida cotidiana
Latin Rock or Alternative Album
 · Juanes

De Todas las Flores
Latin Rock or Alternative Album 
· Natalia Lafourcade

In The Wee Small Hours of the Morning
Arrangement, Instruments And Vocals
 · Jacob Collier, Sara Gazarek, Erin Bentlage, …

Tight (Japan Bonus Track)
Improvised Jazz Solo
 · Samara Joy

All Things
Gospel Performance/Song
 · Kirk Franklin

Folsom Prison Blues
Arrangement, Instrumental Or A Cappella
 · John Carter Cash, Tommy

Emmanuel, Janet Robin, …

Written In Their Soul: The Stax Songwriter Demos
Album Notes
 · Deanie Parker, Robert Gordon

Echoes of the South
Roots Gospel Album
 · The Blind Boys of Alabama

the word contemporary
Mike Sonksen on X: "I'm cohosting w/ @bpleasel a @GettyMuseum event January  14th of music, film & poetry celebrating the connection between Blake's  words & Axelrod's music with @jrocc Ras Kass @lynellgeorge @

London Fog Meets LA Smog: William Blake and David Axelrod at the Getty Museum was a celebration of the relationship between English poet/artist William Blake and Southern California musician/record producer/arranger David Axelrod that was co-curated by poet/spoken word artist Mike Sonksen and photographer/filmmaker Brian “ B+” Cross.

Coinciding with the program that included Grammy Award-winning cultural journalist Lynell George, poet-professor Mike “the Poet” Sonksen, Labor Historian Lee Boek, and screenwriter/spoken word artist Monique Mitchell was an exhibit of Blake’s art and poetry (first on the West Coast in 80 years) on the other side of the Getty campus.

Blake (1757-1827) and Axelrod (1931-2017), obviously never met. Axelrod a voracious reader and was strongly influenced by Blake’s work and titled his first two solo records, Songs of Innocence and Songs of Experience, directly from the visionary artist’s poem collections.   

Musically, Axelrod was a drummer and arranger who produced saxophonist Harold Land’s The Fox and trombonist Frank Rosolino’s Free for All in 1959. Following those records, the drummer/arranger/producer went on to be popular in jazz and R&B circles. That resulted in successful recordings at Capitol Records as a staff producer/A&R man for Cannonball Alderley, Stan Kenton, Lou Rawls, Joe Williams, Gene Ammons and Don Randi who started the Baked Potato jazz club. Additionally, the producer/A&R man established the first Black Music Division at a major label.

His creativity extended to rock, pop and even classical through projects for the Electric Prunes, The Man From U.N.C.L.E.’s David McCallum and exiled South African singer Letta Mbulu. Most significantly, Axelrod’s sound was very distinctive and unconventional especially during the ‘60s and ‘70s, along with embodying present-day themes such as the environmental and mental health issues that were way ahead of the times then. Furthermore, Axelrod utilized a group of talented session players, such as pianist/arranger/producer/songwriter H. B. Barnum, guitarist Howard Roberts, bassist Carol Kaye and drummer Earl Palmer, who were similar to the much-lauded Wrecking Crew.

In the ‘90s to the present, Axlerod’s music has been heavily sampled by Dr. Dre, Lareen Hill, De La Soul and many other hip-hop and pop artists. That revived his career after being dormant in the ‘80s with an array of projects featuring new arrangements from his earlier albums and several anthologies.

In honor of Axelrod, the guest speakers recalled their experiences and memories of him through stimulating poems by Blake, their own spoken word pieces and poetry, and lively discussion. Sonksen and Cross talked about being in his presence, their interactions and showcased poems. George read an engaging excerpt from her Axelrod essay and a Blake poem. Boek connected Blake, Axelrod, and the Wobblies in a stirring original pro-union poem.

Mitchell, Sonksen’s former student recited a Blake poem and her own response poem. DJ Rocc paid homage with one of his signature mixes with MC Ras Kass and incorporated audience participation to spotlight his collaboration with Axelrod from the 2001 Mo’ Wax album. Barnum rounded things out by telling colorful stories about he and Axelrod’s meeting, their working relationship and friendship. Intermixed in the program were several of Axelrod’s timeless songs, themes and arrangements being played, along with numerous pictures, and a video from a recording session.

Q&A with the audience included Barnum’s first meeting with Aretha Franklin, Michael Jackson and Frank Sinatra, working with McCallum, and Axelrod’s thoughts about sampling (hated it, but loved the money). Barnum and Boek were asked about the musician’s union, AI and commerciality. For more info go to: https://www.npr.org/sections/therecord/2017/02/11/514590294/david-axelrod-musical-visionary-and-historical-propellant-remembered and www.getty.edu.

Sammy Miller & The Congregation are all highly educated musicians, who studied at Julliard, Cal-Arts, USC, UCLA and other colleges, along with a few of them being educators and faculty members. However, that fact is almost obscured —because this group of musicians are very fun loving and often include vaudeville-like theatrics/schtick in their concerts. They opened with a jazzy combo version of the Star Trek Theme to salute Leonard Nimoy and the new venue named after him.

Following that, drummer Miller and his musically adventurous group that included his sister Molly-guitar, Ben Flocks-tenor saxophone, David Linard-piano and Corbin Jones bass/vocals, launched into a rousing mixture of pre-be bop, straight ahead and rocking funk jamming that was full of solos. Gospel classic “A Closer Walk With Thee” introed with some of the bandmembers leaving the stage to greet the audience before they got fully immersed in the tune was bolstered by stirring guitar, sax and bowing bass solos.

Other aspects of the group’s shows are bandleader/drummer’s charm and comedic routines that are acerbic, off-kilter and well-timed. He ribbed his family, players, Jews (he’s Jewish) and occasionally the crowd. His singing of “Ain’t Misbehaving” with only piano initially became a skit about a scumbag trying to change his ways, with zany inserts of tunes like the Jackson 5’s “I Want You Back,” Neil Diamond’s “Sweet Caroline” and Kenny Rogers “The Gambler” that all included terrestrial radio effects and KKJZ station IDs.

Not to be left out were quick sketches of classic rock KLOS, top-40 K-101 and smooth jazz KTWV, with Flocks bringing it home with impressive playing and soloing. Miller also did his spoof about Jews and Moses in the desert through “Whatchagonnado” with the audience participating and laughing along that ended with scorching playing.

Another facet of Miller’s show is education and he did a quick demonstration Louis Armstrong’s groundbreaking soloing with King Oliver for “Chimes Blues” with audience shouting Louis Armstrong at key points, like he did earlier for school kids.

In terms of regular music, “In The Morning Light” by pianist Linard solely and later with the band was a vintage styled ballad mixing gospel and bluesy stride piano and emotive sax. Molly mournfully played Hank William’s immortal “I’m So Lonely I Could Cry” with the band down low.

A modern take of Scott Joplin’s immortal “The Entertainer” with bassist Jones starting it off, and the band and the bandleader working out was highlighted with a few madcap touches. The fun show ended with a jazzy embellishment of “O McDonald Had a Farm” in honor of Miller’s infant son and drew an enthusiastic standing ovation. For more info go to: www.sammymillercongregation.com/ and cap.ucla.edu-nimoy-theater.

image of the word fusion with person playing sax

SRT, consists of Grammy-winning and Grammy-nominated top-flight players, genre-spanning guitarist Andrew Synowiec, drummer John “J.R.” Robinson (historically considered the most recorded drummer) and multi-faceted organist/keyboardist Mitch Towne. They showcased tunes from their latest recording Vanguards of Grooveat Catalina. Fueled by Towne’s funky organ playing, Synowiec’s ripping guitar and Robinson’s throbbing drumming, the trio delivered funky, hard-edged grooves, that sometimes include atmospheric textures.

“Burn That Bridge” was an uptown groovy tune featuring riveting guitar, solid drumming and soul-stirring organ playing. While “Tal Shia” was a burning jam featuring all the musicians intensely wailing and intermeshing to an appealing up-tempo rhythm. Slowing things down a little was Towne’s easy flowing tune “Alta Vista” that was laden with soulful organ flurries, pulsating drumming and nimble guitar playing, along with Robison’s “Liquid Office” that referred to his jacuzzi.

Relating to the many film scoring sessions the players have done together and individually, especially the recent one for the film Bullet Train, they served up a fusion version of the Bee Gees’ classic “Staying Alive” that’s not on the new album. Back to the record, “The Experience” was a fusion shuffle, full of soul drenched playing and tradeoffs by the trio that had the crowd bopping along.

On the other hand, “Long Road” was a thematic number that exhibited the mellower and softer aspects of the trio and also included explosive moments, all to the audience’s delight. Even more appealing to them was Robinson’s longtime musical partner, bassist Bobby Watson going back to their early years with Rufus, joining the band for a high revving rendering of “You Got The Love.”  For more info go to: srtgroove.com and catalinajazzclub.com.

Guitar virtuoso Stanley Jordan whose unique method of playing allows him to simultaneously play chords and melodies, hasn’t performed at Catalina for many years.  Nonetheless, he’s still very popular and drew a packed house for his solo performance there. By way of signature string pounding, Jordan played a string of airy tunes. Among them was his own thematic “All the Children” with extensive improvisation and blues/rocking “The House of The Rising Sun” with both drawing strong audience reactions.

The guitarist, not known for singing spontaneously and melodically sang/chanted “Morning Sun” with bursts of raucous explorative playing. Also, particular notable, Jordan who’s usually quiet and very soft spoken opened up to the audience about his recent trip to China, getting sick afterwards, his teaching and heavily detailed instructive website. Actually, his doctor recommended he stop and talk to give his hands a rest, which got applause and approving laughs from the audience.

For musicians and technically minded attendees, he mentioned his equipment and efforts to minimize it, ultimately balancing analog and digital worlds for simplification. From there he went into “sound world” with layers of effects, loops and delays comingled for space rocking jamming.

Getting back to more conventional playing, Jordan served up his well-known and hypnotic version of the Beatles “Eleanor Rigby” that included dreamy chanting/scatting/talking and flailing guitar playing to garner a standing ovation. For the encore he played tantalizing classical piece “Mozart’s Piano Concerto #21.” For more info go to: www.stanleyjordan.com and catalinajazzclub.com.    

Text Special Mention

JUMAANE SMITH: LOUIS! LOUIS! LOUIS! was presented at the Cerritos Center For The Performing Arts, featuring Seattle native trumpeter Smith with a robust band and soulful backup singers. He cut his teeth in Michael Bublé’s band as lead trumpeter for 17 years and Bublé encouraged him to sing during concerts. Also, he was mentored by Wynton Marsalis at Julliard, was in Harry Connick Jr.’s house band for his daytime TV show Harry, been on five Grammy-winning records, done two Emmy nominated performances and played at the White House.

In concert at Cerritos, Smith opened with slightly gritty singing and blazingly playing, along with his band stretching out for “I Gotta Right to Sing The Blues.” It was done by Armstrong and others such as Ethel Merman, Cab Calloway, Benny Goodman and Billie Holiday during the ‘30’s. Afterwards, the trumpeter and band turned in an impressive rendering of Armstrong’s rollicking trad classic “Royal Garden Blues.”   

The poppy aspects of Armstrong’s repertoire were spotlighted through “You’re Nobody Until Someone Loves You” with backup singers Kim Ocore, Kim Daniels and Loren Battley. Timeless ballad “En Vie La Rose” spotlighted Smith’s intense soloing and vocals to impress the audience.

Also included in that vein was “Stardust Memories,” along with a slowed down version of “Is You Is or Is You Ain’t My Baby,” “What a Wonderful World” and “Pennies From Heaven” bolstered by Ben Flock’s riveting saxophone soloing. In a category by itself was gloomy New Orleans’ classic “St. James Infirmary” that abounded with soaring trumpet and mournful singing to amaze the crowd and garner a standing ovation

For more variety, backup singer Battley (also from Bublé’s band) joined the headliner for a Latin styled interpretation of “I’ve Got You Under My Skin” and conventionally done “Our Love is Here to Stay.” Also featured during the song were pianist Will Gorman, guitarist David Rosenthal, bassist Alex Frank, drummer Carmen Intorre Jr., trombonist Josh Brown and Flocks working out. Without Smith, Battley showcase her talents by dynamically singing “It’s You or No One.”

Smith also made a point of showcasing his own music through bluesy ballad “Come On Home,” peppy jazzy/R&B tune “Sweet Baby,” and Ray Charles fashioned “I Know.” It was garnished with biting guitar soloing, powerful brass choruses, and resounding backup singing. The appealing trumpeter/singer who never mentioned Armstrong, wrapped up the concert in grand style with soaring playing, alongside highflying New Orleans brass and drumming forays for “When You’re Smiling” to a draw standing ovation. For more info go to: www.jumaanesmith.com and www.cerritoscenter.com.

Alan Broadbent at The Nimoy on Sun, Jan 7th, 2024 - 6:00 pm

Pianist Alan Broadbent’s performance at the Nimoy as part of the Jazz Bakery’s Moveable Feast series was a night of unadulterated, delightful and timeless solo playing. With heightened sensitivity and depth, the New Zealand-born musician reeled off extended versions of standards such as “How Deep is The Ocean,” “All The Things You Are” and “Body & Soul.”

After those selections, Broadbent mentioned that often when he plays solely there’s tension between the melody and time/cadence that he likes to explore, with the melody becoming the time in many instances. With that thought planted in the minds of the listeners, he proceeded to play several lesser-known tunes, such as Billy Strayhorn’s “Upper Manhattan Medical Group” and Ellington’s “Reflections In Blue (D)” that strongly diverged from standard orientation with sweeping themes and energetic soloing, along with elegant phrasing.

The pianist over the years has worked with a wide range of artists, resulting in winning Grammys with Natalie Cole and Shirley Horn. Additionally, he’s collaborated with Woody Herman, Sue Rainey, Diana Krall, Chet Baker, Bud Shank, and rock/pop hitmakers Paul McCartney and the Eagles’ Glen Fry.

However, most dear to Broadbent’s heart were his Southern California years with the renowned bassist/composer/educator Charlie Haden. Joyful blues “Hello My Lovely” a reference to noir author Raymond Chandler (Haden was a big fan of his) was performed as homage to his friend. Also full of sentiment was the tastefully played ballad “I Waited For You,” composed by Dizzy Gillespie. Broadbent cited it as the first jazz ballad before “Round Midnight” and also highlighted his original “Heart’s Desire” co-written with David Frishberg.

Boldly breaking out of the ballad and introspective modes were vibrantly played original “Clifford Notes” in honor of Clifford Brown, “Solar” by Miles Davis, and the John Lewis/Modern Jazz Quartet’s classical/jazz signature piece “Django.” It drew a standing ovation and for the encore Broadbent returned to thoughtful playing by way of Davis’ “Blue in Green.” For more info go to: www.alanbroadbent.comwww.jazzbakery.org and cap.ucla.edu/ucla-nimoy-theater.

El Arte del Bolero: Miguel Zenon / Luis Perdomo Duo | Spoleto Festival USA  2024
Silencio | Miguel Zenón & Luis Perdomo | Miguel Zenón

Recent Grammy Winner (El Arte Del Bolero, Vol. 2), Guggenheim and MacArthur Fellow, devoted educator and Cultural Ambassador for his own Puerto Rico-based Caravana Cultural program, alto saxophonist Miguel Zenón is an exceptionally dynamic and restless artist. He performed at the Moss Theatre in conjunction with the Jazz Bakery’s Movable Feast series and much like one of his former collaborators, trumpeter Jerry González & the Fort Apache Band, he blurs the lines dividing Latin and mainstream jazz.

With his very adept counterparts, drummer Henry Cole, bassist Hans Glawischnig and pianist Luis Perdomo, the award-winning saxophonist opened playing the Latin/post-bop, earth scorching “Taínos y Caribes” from his 2022 album Música de las Américas. For somewhat of respite, a mid-tempo arrangement of salsa classic “Estumbas” featured Perdomo’s rhapsodic playing, along with Zenón swirling sax.  

Also, from the 2022 record and not quite as hard-driving was another original “Bambula,” derived from an ancient African drum and dance ritual. The piece included a rhythmic/harmonic bass solo interlude that seamlessly segued into the suite-like “Antillano,” additionally on Música de las Américas.

It showcased the bandmembers and Zenón in a vibrant mixture of Latin motifs and rhythms melded with be-bop and neo-bop touches to thoroughly captivating the audience and garnering a standing ovation. For more info go to: miguelzenon.com and www.jazzbakery.org.

Fast emerging New York City bassist Linda May Han Oh is originally from Malaysia and was raised in Perth, Australia. Since the late 2000’s she has recorded and/or toured with jazz heavy-weight artists such as Pat Metheny, Kenny Barron, Joe Lovano, Dave Douglas, Terri Lyne Carrington, Steve Wilson, Geri Allen and Vijay Iyer. As a leader, Oh recently performed at the Townhouse in Venice as part of the Just Jazz series hosted by Le Roy Downs.

Joining her for the special concert was Fabian Almazan-piano/husband, Mark Whitfield Jr.-drums, Greg Ward-alto sax, and Sara Serpa-vocals. They quickly got into compositions from the bandleader’s latest album The Glass Hours, beginning with the explosive “Chimera” that reveled with thundering rhythm accentuated by spiraling sax and vocals. Alternatively, gracefully flowing “Antiquity” was garnished by enchanting siren-like wordless singing by the bandleader and Serpa spoken word tinges that impressed the listeners.

Also quickly drawing acclaim was special guest, vocalist Michael Mayo. With Serpa, he delivered more irresistible wordless singing to a very propulsive backdrop generated the group for new not yet recorded tune “Halo,” accent by a powerful drum solo. It was dedicated to Downs and other people promoting great jazz.

For “Phosphorus” also on the new project, Oh switched to electric bass (lent by Ben Williams) and joined in with Sherpa and Mayo for more intriguing vocal chanting fueled by Almazan’s intense soloing and the band’s riveting accompaniment. “The Imperative”kept the energy going and highlighted Ward’s and the pianist’s unrelenting playing that cohesively intermeshed with the formidable rhythm players to blow the audience away and end the incredible set. For more info go to: lindamayhanoh.com and www.justjazz.tv

Terri Lyne Carrington's New Standards January 27, 2024 Live At Royce Hall -  KPFK 90.7 FM
New Standards: 101 Lead Sheets By Women Composers: Carrington, Terri Lyne:  9780876392232: Amazon.com: Books

Drummer/producer/educator and NEA Jazz Master Terri Lyne Carrington has received many accolades and awards, and is a pillar in the world of jazz. She continues to search for new vistas and is steadfast in her support for DEI initiatives and causes. At C.A.P. UCLA’s Royce Hall she showcased compositions from her latest record New Standards, her companion compilation book New Standards:101 Lead Sheets By Women Composers and others created by women that are neither on the record or in the book.

Aiding and abetting Carrington for the outing were Kris Davis-piano, Linda May Han Oh-bass and Matthew Stevens-guitar who all are on the album, along with trumpeter Milena Casado and spoken word/poetess/dancer Christiana Hunt, who aren’t on the record.

“Rounds” by Marilyn Crispell got things underway and was a high energy abstract piece abounding with searing trumpet, rangy guitar, expansive bebop piano and crashing drumming. Afterwards, vastly different astral-grooving “Circling” by Gretchen Parlato featured special guest Michael Mayo (also on the record) soothingly singing above a funk-driven backbeat. Without vocals and equally absorbing was gentle theme number “Sympodial Sunflower” by Kris Davis featuring Casado on trumpet.

More recognizable to the audience was Abbey Lincoln’s caution-free classic “Throw It Away” with Mayo singing and Davis’ whirlwind soloing embellishing.  Bebop connoisseurs were probably aware of Charlie Parker’s “Big Foot” that Carrington transformed into neo-bop “Pig Foot.”  It encompassed refined trumpet and guitar soloing, strongly fueled by the bandleader and the pianist’s adventurous playing.

The drummer had to admit Carla Bley’s “Lawns” with her added lyrics to become “Two Hearts” was her favorite tune on the album, with Mayo radiantly singing. Alternately, with only Oh, drums and atmospheric piano/keyboard effects Hunt did a jolting spoken word rendering of “Black Beauty” and the intro for the closing composition that included intense band interplay and touching vocals to draw a respectful standing ovation. For more info go to: www.terrilynecarrington.com and cap.ucla.edu.  

Any Way You Can - YouTube

Multi-Grammy Winners individually and together Grammy-Nominated, highly regarded vocalist Patti Austin and highflying bandleader/arranger/composer and multi-instrumentalist Gordon Goodwin celebrated their album For Ella Vol.2 at Catalina. Additionally, Goodwin and his 18-piece Phat Band were nominated for Best Instrumental Composition for the song “Cutey and the Dragon,” recorded with classical Quartet San Francisco for the critically-acclaimed album, Raymond Scott Reimagined.

With less than a week before Music’s biggest night anticipation was high and the sold-out audience was eager to hear songs from the Grammy-nominated record with Austin. Prior to her onstage, the mighty ensemble launched into Benny Goodman’s immortal “Sing Sing Sing” transformed into “Sing Sang Sung” by the bandleader. It was wrought with stirring brass choruses and hot solos from saxophonist Sal Lozano and trumpeter Aaron Janik. “You’re Not Named Doctor” dedicated to the Goodwin’s daughter’s cat opened explosively and shifted into a sweltering cha-cha, propelled by Lozano, drummer Ray Brinker and percussionist Joey DeLeon.

Austin, reputed god daughter of Quincy Jones and Dinah Washington classed things up with sophisticated interpretations of “Anything Goes,” and “Let’s Do It.” As a nod to Fitzgerald’s “novelty” songs that broke her on the scene and not on the record was funky/contemporary “Let Me Dance.” While Latin wailing “Lullaby of Birdland,” Louie Prima big band hit “Tain’t What You Do” and “Get Happy” with a sermon-like intro drew strong crowd reactions. Also in that vein was the powerfully sung and band dazzling “Mack The Knife.”  

The rendering of Basie’s immortal “April in Paris” nominated for Best Arrangements, Instruments, and Vocalswas a balance of Austin’s personal expression initially that shifted into the big band powerhouse its famous for being and closed with the singer’s sweet lingering ambiance. Austin admitted that she intentionally set out to not sing like Fitzgerald, but it was inescapable for “How High The Moon” that showcased incredible scatting and the band’s jaunting brass forays to conclude the concert. Hopefully, there will be a For Ella Vol.3 in the future. For more info go to: www.pattiaustin.comwww.bigphatband.com and catalinajazzclub.com.

Anything to be considered for this column can be sent to: chrisjwalker1@earthlink.net