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Los Angeles Jazz Institute Festival "Big Band Spectacular" 2017, Part 1-4
LAX Westin Hotel
Los Angeles, CA
May 24-28, 2017
Part 1 | Part 2 | Part 3 | Part 4
Organised by Ken Poston, head of the Los Angeles Jazz Institute (LAJI), and advertised as the "Largest Big Band Festival of all time!," this was a fine exposition of many of the best big bands from the greater Los Angeles area and a celebration of the rich traditions of the big band in jazz, past and present. Poston has organised twice yearly five-day festivals for over twenty years, generally with themes that re-create an earlier era and draw from the vast and rich archive of music held at the LAJI, and representing many decades of West Coast jazz activity. Recent themes have included a 100th birthday Sinatra retrospective, "Something Cool," re-creating the 1949-1959 cool jazz story; festivals celebrating the music of
Buddy Rich
drums1917 - 1987
Stan Kenton
piano1911 - 1979
Gerry Mulligan
saxophone, baritone1927 - 1996
On this occasion, Ken assembled some of the finest of contemporary West Coast big bands, most of which rehearse regularly, perform whenever they have opportunity, and some of which are fortunate to tour interstate and internationally, and document their music in recordings when it can be afforded. Most are run by gifted and accomplished composer/arrangers, which is often the only way to keep big band scale jazz viable in the current climate. These bands are populated by the large talent pool of fine Los Angeles musicians whose lives have been lived in various combinations of studio work, teaching and playing jazz at any opportunity, and who dedicate time to rehearse and play in one or more of these fine bands, because the music is intrinsically good, adventurous and challenging and because it keeps the art alive and evolving.
Some of these bands are committed to particular areas of earlier repertoire (e.g. Ellingtonia, as in the Mike Price Big Band), or maintaining the rich legacy of a particular West Coast musician (e.g. the
Clare Fischer
piano1928 - 2012
Brent Fischer
composer / conductor
Gary Urwin
band / ensemble / orchestra
Bill Cunliffe
pianob.1956
John Daversa
trumpetb.1972
Bill Watrous
trombone1939 - 2018
Carl Saunders
trumpet1942 - 2023
Scott Whitfield
tromboneb.1963
Roger Neumann
saxophone, tenorb.1941
Mike Barone
composer / conductorb.1936
Bill Holman
composer / conductor- 2024
A large number of great musicians were involved, many in more than one band, and several were involved in multiple bands, Jamie Hovorka evidently topping the list with his appearances in about fourteen concerts and incredible stamina. It was great to see such a mix of ages on the stands, ranging from early '20s, through to late '80s, with the indefatigable baritone saxophonist
Bob Efford
b.1928There were many highlights, and to single them out is difficult, but opening the festival with the Goodwin Big Phat Band was an inspired choice, as was having the Bill Holman band perform the "Echoes of Aranuez" at the Sunday Brunch event. Ken Poston is again to be congratulated on putting together a fine festival, and rising again to the challenge of keeping something very good and worthwhile going, in the face of an ageing and diminishing audience. It was heartening to see many younger people attending particular concerts, but again raises the questions of how to keep alive this great music into the future generations.
Pasadena City College Studio Jazz Ensemble
Unfortunately, I was not present to hear the first two of these ensembles, but arrived in time to hear most of the final band. The Fullerton band presented an array of fine arrangements, with very good section playing from all, strong ensemble work and a strong rhythm section. The most memorable performances were a
Bob Florence
piano1932 - 2008
Bob Brookmeyer
trombone1929 - 2011
Gordon Goodwin's BIG Phat BAND
The Goodwin BPB has established itself as one of the most exciting big bands in jazz today, with extensive recordings and international touring. While it retains much of structure, concepts and swing of all the generations of great big bands and arrangers before it, it speaks new languages of rhythm and texture, its vital arrangements informed by the leader's great imagination, energy and daring, and the virtuosity and enthusiasm of its stellar players. They did not disappoint, delivering a wonderful opening concert, which was a fitting start to a fine big band festival, full of surprises and plenty of fun, atop the superb musicianship and tightness of this swinging band.
The band opened with "Why We Can't Have Nice Things" (featured on the recentLife In The Bubble album) and they were off to a fast pace with fine solo excursions from Brian Scanlon, tenor sax, and Andy Martin, trombone. Don't Blink was a terrific samba with nice, harmon-muted, trumpet work and a fiery alto sax solo from Kevin Garren. "Garaje Gato," dedicated to a cat (also from Bubble) was a delightful samba with fine flute work from Sal Lozano, and featuring some exciting percussion/drum dueling from Joey De Leon and Ray Brinker. "Rhapsody in Blue" (recorded on That's How We Roll) was a delightful re-think of Gershwin's much-loved classic of 1920s "Americana." It opened with Lozano's fine clarinet glissando, evolving into a swinging rendition of the opening theme in a neat AABA format. Many of the familiar melodies were woven together before a rip-roaring tenor saxophone solo from Jeff Driskill. The final, "love theme" was played by a very smooth trombone section, before the eventual concluding reprise of the main melody. Altogether this was a condensed but revitalized look at Rhapsody, with all the best themes clearly stated but quirkily re-imagined, and would have brought a smile to Gershwin's face.
"Lost In Thought" was a beautifully haunting melody, featuring piano and saxophone in unison lines, and creating a mysterious mood, into which came a fine flugelhorn solo from Willie Murillo and a nice tenor sax solo from the leader. This was a very thoughtful, nicely textured performance. "Sunset And Vine" opened with Trey Henry on bass and Andrew Synowiec, leading into exquisite, five-flute section work, and swinging solos from Andy Martin, trombone, Henry's bass and the leader on piano, and a nice reprise of the final theme by the saxophone section.
"Back Row Politics" was a feature for the trumpet section, a twenty-four bar blues with spirited gamesmanship between the four trumpeters, and plenty of upper-register chopsmanship. There followed some fine flute section work accompanied by the leader's zany piano. "The Buddy Complex" was a tribute to the legendary drummer/leader Buddy Rich, composed from fragments of tunes from the Rich band book, over a swinging 24-bar blues bedrock, and a fine vehicle for the powerhouse drumming of Ray Brinker, and many deft rhythm and tempo changes. We heard some spirited drum duels between Brinker and percussionist Joey De Leon, blistering solos from saxophonist Brian Scanlon and trumpeter Mike Rocha, and a highly energized, expansive drum solo from Brinker, who ought to have looked tired at the end, but instead looked like he could do it again.
All in all, this was a brilliant performance by a world-class band that loves to play the leader's brilliant charts, and does so with flawless section work, terrific rhythm section energy and great solo depth. Gordon Goodwin exuded energy throughout and an engaging stage presence, with friendly banter and quirky anecdotes. A hard act to follow!
Film Session: Drop Me Off in Harlem
Ken Poston took the audience on a tour of the origins of big band jazz, starting in the 1920s, with emphasis on the important role of
Fletcher Henderson
arranger1897 - 1952
Don Redman
arranger1900 - 1964
Bessie Smith
vocals1894 - 1937
Duke Ellington
piano1899 - 1974
Louis Armstrong
trumpet and vocals1901 - 1971
Coleman Hawkins
saxophone, tenor1904 - 1969
Benny Carter
saxophone, alto1907 - 2003
Cab Calloway
composer / conductor1907 - 1994
Chick Webb
drums1905 - 1939
Jimmie Lunceford
composer / conductor1902 - 1947
Mike Barone Big Band
Trombonist
Mike Barone
composer / conductorb.1936
The band commenced with
Chick Corea
piano1941 - 2021
Sam Hirsh
pianoBob Summers
trumpetb.1944
Tom Luer
clarinet, bass
Cedar Walton
piano1934 - 2013
"Flight Of The Bumble Bee" demonstrated Barone;s imaginitiive re-arranging of Rimsk-Korsakov's familiar bee-line melody, with insistent rhythms, fast trumpet unison work, and flutes and soprano sax running with the melody. A later modal piano solo over mellow brass accompaniment brought a nice change of mood and pace. The movie theme from Brazil was another three-four vehicle for warm flugelhorn melody and a vigorous baritone sax solo from
Tim McKay
saxophone, baritone"Girl Of My Dreams" was given a gentle bossanova treatment, followed by a nice unison bebop countermelody call-and-response between brass and reeds. There were impressive solos from trumpeter
Mark Lewis
saxophoneb.1958
Joe Zawinul
keyboards1932 - 2007
Mike Barone
composer / conductorb.1936
John Stephens' BIG Bluzz Band
John Stevens
drumsb.1940
Phil Ranelin
tromboneb.1939
Henry Mancini
composer / conductor1924 - 1994
Richard Simon
bass, acousticb.1949
Randall Willis
saxophone
Freddie Hubbard
trumpet1938 - 2008
"Viva Torado" was a fitting tribute to the late, legendary West Coast bandleader and inspiration
Gerald Wilson
composer / conductor1918 - 2014
Count Basie
piano1904 - 1984
Les Benedict
tromboneOverall this was a solid performance of mostly great big band material, if not overly adventurous, but with inspired solos from many players and fine section work.
John Daversa Big Band
Led by trumpeter/leader
John Daversa
trumpetb.1972
The band opened with Lennon and McCartney's "Michelle," featuring the leader's trumpet and a fanfare entry into a somber brass ensemble rendering of the melody. Alto saxophonist Phil O'Connor was then featured again, amid a huge ensemble sound, exploiting the stratospheric range of the trumpet section and later contrasting with slower ensemble passages. A second unnamed tune followed, featuring friendly trombone contrapuntal interplay between
Paul Young
tromboneGeorge Thatcher
trumpet"Bury Your Soul," a powerful piece, and tour-de-force for leader Daversa, began at ballad tempo with an airy trumpet solo from the leader over gentle
Neal Hefti
trumpet1922 - 2008
The band's fourth and final offering was an epic piece, "Junk Wagon," which perhaps illustrated most completely the open-ended explorative approach of Daversa as a contemporary composer. It began jauntily, with flutes and bass saxophone, joined by long notes of muted trumpet. This morphed into a heavy rock beat, which switched to six-four, rock feel, with loud ensemble work, and then some soft woodwind sounds. This set up the leader for some solo excursions on his EVI (electronic valve instrument) and some more strident guitar work from Carney, an energetic bass solo from Jerry Watts, and all powered by the strong playing of drummer Gene Coye. This large-scale work was full of contrasts—loud and soft, sweet and sour, gentle and strong—but there were some odd, empty spaces in places that broke some of the musical journey of the piece. Nevertheless, it was a showcase for the leader's large musical vision, which incorporates an eclectic range of influences, and displaying, for all of those listening, the diversity that is Daversa.
The Clare Fischer Big Band
Clare Fischer
piano1928 - 2012
Brent Fischer
composer / conductorKicking off with "One," a fast swinging piece (originally recorded on Duality) with cheerful and punchy ensemble work, driving drumming from Ron Manoag, this featured fine solos from
Brian Clancy
saxophone, tenor
Ron Stout
trumpetAlex Budman
fluteb.1973
Carl Saunders
trumpet1942 - 2023
Part 1 | Part 2 | Part 3 | Part 4
Tags
Big Band Report
Simon Pilbrow
Los Angeles
Los Angeles Jazz Institute Festival
Big Band Spectacular
Ken Poston
Pasadena City College Studio Jazz Ensemble
Gordon Goodwin's Big Phat Band
John Daversa
Clare Fischer
John Stephens
Mike Barone
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