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Los Angeles Jazz Institute Festival "Big Band Spectacular" 2017, Part 2-4
LAX Westin Hotel
Los Angeles, CA
May 24-28, 2017
Part 1 | Part 2 | Part 3 | Part 4
Jimmy Giuffre
clarinet1921 - 2008
Woody Herman
band / ensemble / orchestra1913 - 1987
The Fischer classic "Morning" featured trumpeter Jamie Hovorka and the vocals of
Laura Dickinson
vocals
Quinn Johnson
keyboards
Francisco Torres
trombone
Baden Powell
guitar, acoustic1937 - 2000
"O Canto," a fast and happy samba, built around a repeating melodic motif, with continual shifting harmonies, was a feature for
Carl Saunders
trumpet1942 - 2023
Brent Fischer
composer / conductor
Scott Whitfield
tromboneb.1963
The delightful "Butterfly Samba," from the recent Intenso release, featured the vocal duet of Laura Dickinson and Scott Whitfield, skillfully negotiating the fast melodic lines and words (penned by Darlene Koldenhoven). It featured a stream of rapid-fire solos from half of the cast—flutes (Clancy, Budman), trombones (Whitfield, Jacques Voyemant), trumpets (Stout, Saunders), scat vocal (Whitfield) and drums (Ron Manoag), before the energetic reprise of the vocal duet melody. Clare Fischer's tune "Cal's On," a nod to vibraphonist/composer/bandleader/Latin jazz pioneer
Cal Tjader
vibraphone1925 - 1982
Kirsten Edkins
saxophone, tenorAll in all, this was a fine concert performance of great and complex Fischer material by a very dedicated band. The sound production was generally excellent, permitting all the nuances of this great music to be heard to advantage from the audience.
Bill Cunliffe and BACHanalia
Bill Cunliffe
pianob.1956
The band started with a mid-tempo, brassy, six-four piece, "Affluenza," featuring lyrical and energetic solos from Nathan Reed on soprano saxophone and John Papenbrook on flugelhorn, and understated brassy ensemble sections in a mellow, warm blend of four flugelhorns and four trombones. Monk's jazz classic ballad, Round Midnight, began with a fine, cadenza-like tenor sax opening from
Rob Lockart
clarinetCPE Bach's "Solfeggietto," a well-worn piece familiar to most piano students began with a brushes intro, before breaking into the jazz-modified melody with vocalist
Denise Donatelli
vocalsBob Summers
trumpetb.1944
JS Bach, without doubt the greatest of the seventy-seven composing Bachs, from the middle of seven Bach generations, innovative and prolific, and probably the prime Bach inspiration of Bill Cunliffe in conceiving his Bachanalia ensemble. Bill's marvelous re-working of JS Bach's Sleepers "Awake" (Ger: Wachet Auf = wake up!), one of his best-loved cantatas, was a treat. Beginning with a neat cadential piano intro, it launched quickly into a vocal-plus-sax unison rendering of the bebop-transformed melody, which was carried by sax-plus-muted Papenbrook trumpet and then with vocal-plus-muted trumpet. Fine solos followed—Cunliffe's piano, Zack Caplinger's mellow bebop guitar, and Francisco Torres' tasteful trombone. A reprise of the melody, similar to the opening, led to a hymn-like ending. All in all, this was a fine example of Bill Cunliffe's tasteful blending of classical and jazz.
JS Bach's "Goldberg Variations" have been much studied and played, and represent a titanic musical work, challenging to play in their original form and daunting to put into a jazz context, to be sure. Cunliffe explained his quirky inspiration for the name "Goldberg Contraption," and what followed was a montage of Goldberg-inspired themes, beginning with a cheerful contrapuntal trio of piano, guitar and flute, a piano solo in waltz time, with daring double octave passages over the ensemble, a later surprise, free-form section with Jeff Ellwood's multi-phonic tenor sounds, deliberately jarring, followed with a playful, unaccompanied Francisco Torres trombone solo, a rhapsodic piano interlude before the final, unexpected ending. It is possible that this might not be Cunliffe's last word on Goldberg.
Far from Bach, but no less inspiring, was the music of
Thad Jones
trumpet1923 - 1986
Film Session: A Symposium in Swing
Ken Poston's continuing story of the evolution of the big band took the audience from the Fletcher Henderson origins directly into the mid 1930s and the beginning of the Swing Era, with fine film footage from
Duke Ellington
piano1899 - 1974
Count Basie
piano1904 - 1984
Benny Goodman
clarinet1909 - 1986
Artie Shaw
clarinet1910 - 2004
Woody Herman
band / ensemble / orchestra1913 - 1987
Harry James
trumpet1916 - 1983
Gene Krupa
drums1909 - 1973
Fullerton College Jazz Band
The University of California Fullerton College Jazz Band, led by the fine saxophonist and enthusiastic director Bruce Babad, is a terrific university big band, with tight ensemble playing and many emerging fine soloists. They play a wide variety of big band arrangements, many of which are recent and quite adventurous. Mr Babad has a tremendous rapport with his band members, has an engaging and quite hilarious stage manner, but achieves a disciplined band sound, and this was a nice balance to see and hear in action. Their repertoire included standards such as "Here's That Rainy Day," and compositions by forward-leaning writers like Joey Sellers and
Jerry Bergonzi
saxophone, tenorb.1947
The Joey Sellers Jazz Aggregation
Joey Sellers
trombone"Ximeno 735" was an original Sellers composition, and rather high in volume, which featured Kim Richmond's probing alto saxophone and energetic, muscular piano from virtuoso
Kei Akagi
piano
Kim Richmond
saxophoneRon King
trumpetJerry Pinter
saxophone, tenor"Miss Roger's Boots" began with a quirky, boppy melody played by piccolo, saxophones and muted trumpets. A zany ensemble bebop line followed over insistent, on-the-beat bass notes, with deft brushwork from
Kendall Kay
drumsIdo Meshulam
tromboneKim Richmond
saxophone"E.E." began with a gentle chorale with a trio of flute, muted trumpet and clarinet, in an almost "Mood Indigo" like effect, leading into an up-tempo 3/4 piano vamp, which introduced a bright flugelhorn solo from Ron King supported by brassy ensemble work, followed by a muscular Jerry Pinter tenor solo, and Ron King returning with a vigorous trumpet solo with more aggressive rhythm section work, returning to the woodwind chorale and piano vamp, and exiting with King's trumpet and a final chorale.
"Sue?o" (Spanish for dream), with its melody based on—no surprises, here—"You Stepped Out Of A Dream," featured Sellers on trombone, and showed dynamic interplay more like that of a small group. It featured a unison sax, bass and bone melody over teasing backgrounds in and out of tempo, which eventually settled into a fast swing and a sparkling piano solo from Akagi and two choruses of swashbuckling, sizzling drums from Kendall Kay. Jerry Pinter followed with a ferocious tenor sax solo with ensemble comment, but mostly unaccompanied. This evolved into two in-tempo fast choruses atop a powerful rhythm section, leading into a gentler, more subdued background passage, a rise and fall in volume till it eventually petered out to a whisper. The closing tune, "Gravy Crisis," was a fun tune with a zany bebop melody played by Sellers' trombone with the ensemble, a nice vamping bridge, and fine solo work from Ron King, Sellers and Henry.
This was a challenging session for many in the audience, as it was much more avant-garde than most of the big bands represented, and generated interesting dialogue between festival patrons and Sellers at the panel discussions which followed, These discussions raised perennial questions about the future survival of jazz, the balance between preserving the legacy versus forging ahead, what ought to be the wisest musical blend for a festival such as this one, and what ought to be the content of jazz courses in university, perhaps fearing that students might not be learning the rudiments of jazz pedagogy. Sellers was quick to defend the course he presides over at Saddleback college as teaching a largely conventional jazz curriculum.
The David Angel Big Band
This band, led by veteran tenor man Angel, is a variation on the conventional big band lineup, a smaller group with a full reed section, a single trombone, a French horn and a tuba, and only two trumpets, giving it a mellow, woolly, sound- scape similar to the
Gil Evans
composer / conductor1912 - 1988
Miles Davis
trumpet1926 - 1991
"This Time The Dream's On Me" was a friendly rendition with fine solos from Scott Whitfield on trombone, Roger Neumann on tenor sax,
Jonathan Dane
trumpet
Bud Powell
piano1924 - 1966
Stephanie O'Keefe
french horn
John Chiodini
guitarDavid Angel
saxophone, tenor"Out On The Coast" was a mid-tempo piece which opened with an unusual, unaccompanied three-part saxophone sound (alto and tenor sax parts doubled), leading into an easy-going fifties West Coast sounding tune, featuring a fine Chiodini guitar solo, and mellow brass ensembles interplaying with
Paul Kreibich
drums
Jim Self
tubaBob Carr
saxophone, baritoneOverall this was a most enjoyable performance by a thoughtful band with a nice blend of swing, mellow brassy sounds and fine soloists, operating in a lower temperature range than many bands, but finding a beautiful range of mood and texture.
Mike Price Big Band
Trumpeter
Mike Price
trumpetb.1941
"Such Sweet Thunder," title tune from Ellington's Shakespearean suite, opened the concert and featured strong solos from the leader's trumpet and " data-original-title="" title="">Duane Benjamin's trombone. "Amad," from the Far East Suite was a medium swinger, with driving bass and drum work, and featured bassist Richard Simon in an energetic bass solo, and Les Benedict playing a trombone solo that explored eastern scalar sounds. Lady Mac began with a fine ragtime waltz piano introduction from
Brian O'Rourke
piano
Clark Terry
trumpet1920 - 2015
Mel Lee
drumsGeoff Nudell
clarinet"New Orleans Rally," a Price original, began with a march rhythm, insistent tom drum beat, and Ellingtonian clarinet writing over the sax section, settling into a jaunty medium swing tempo. Next followed a soulful Duane Benjamin trombone solo and an energetic clarinet solo from Nudell, leading finally into an exuberant, Satchmo-like, Mike Price trumpet solo. The leader introduced a famous Japanese folk song (name not accurately recorded), which had a "Maiden Voyage" like vamp introduction, and a haunting clarinet melody. A vigorous clarinet solo from Nudell, played in fast swing tempo, was nicely cushioned by cool saxophone backgrounds.
Telecaster, another Ellington theme from Such Sweet Thunder, featured
Pablo Calogero
woodwindsb.1958
Johnny Hodges
saxophone, alto1907 - 1970
Not to be outdone, the concert finished with "Diminuendo and Crescendo in Blue," which was first played at the legendary 1956 Newport Festival, and at which
Paul Gonsalves
saxophone, tenor1920 - 1974
Given that, of Ellington's thousands of compositions, probably less than a hundred of his tunes are played regularly, and probably "done to death," it was refreshing to enjoy this unconventional Ellington feast, and was a tribute to Mike Price's determination to keep alive some of the less often heard but challenging music from a great twentieth century master.
Steve Huffsteter Big Band
Trumpeter/composer/arranger/leader
Steve Huffsteter
trumpet
Stan Kenton
piano1911 - 1979
Toshiko Akiyoshi
pianob.1929
Lew Tabackin
saxophone, tenorb.1940
Opening with a delightful, fast and swinging 3/4 tune, "B.B.B.S.," the band hit the ground running with a fine and fluid solo from the leader on trumpet, and a very swinging trombone solo form the young Ido Meshulam. The band launched into "It Had To Be Duke," a clever Huffsteter original based on the It Had to Be You motifs, draped over the chord structure of Ellington's "In A Mellow Tone." Keith Bishop led off with an authoritative baritone sax solo, followed by energetic solos from trombonist Les Benedict and trumpeter
Mark Lewis
saxophoneb.1958
"Rhizome" (name and spelling unconfirmed) was a fast rhythm-changes-like tune, with a Thad-Jones-like melody played by the ensemble, and a feature for tenor man Dave Thomason, who played two strong solo choruses. Innocence was a charming, playful waltz, featuring two choruses of Elster's piano solo, first with rhythm section alone and then with ensemble backgrounds. Mark Lewis played two fine and mellow flugelhorn solo choruses, before the band went into 4/4 time, and Thomason put in some spirited soloing over a repeated turnaround, before his own solo chorus. Clarinetist Ian Roller took the melody out to the final piano vamp. This was a very attractive tune.
"Diz-Ception" was a fine Huffsteter original, and another fast, swinging 3/4 waltz tune, based upon a short two- note motif. Mike Abraham played a fine, energetic and melodic guitar solo, followed by an exciting soprano sax solo from Ian Roller. A great Kim Richmond flute solo led into a climactic ensemble ending. Melancholia, a Huffsteter tune (not to be confused with the Ellington composition), began with a mysteriously over a Latin rhythmic feel, before Ido Meshulam took the melody on the trombone over a nice flute-muted trumpet background, before playing a sensitive but virtuoso trombone solo accompanied by the rhythm section.
Huffsteter introduced "Night Walk" as his "oldest hit," an attractive, minor Latin tune, playing the melody on his trumpet, leading into a fine trumpet solo, and a playful soprano sax solo from Ian Roller. The final tune that snuck into the program was Huffsteter's "Sneaky," introduced with apologies to
Henry Mancini
composer / conductor1924 - 1994
This was a swinging band of great players, playing fine original music. The leader had, as always, an endearing stage manner, with plenty of mild self-deprecation and dry humour.
The Luckman Jazz Orchestra
Veteran saxophonist
Charles Owens
saxophone, tenorb.1939
They opened with
Gerald Wilson
composer / conductor1918 - 2014
Charles Mingus
bass, acoustic1922 - 1979
Lester Young
saxophone1909 - 1959
Horace Silver
piano1928 - 2014
Keith Fiddmont
saxophone, tenor
Eddie Harris
saxophone, tenor1934 - 1996
This was overall a very enjoyable performance by a spirited, swinging big band, with deep respect for jazz's landmark compositions, and the solo depth and vision to credibly reinterpret and advance them.
Carl Saunders' Bebop Big Band
Trumpeter/composer
Carl Saunders
trumpet1942 - 2023
"No Blues in Lugano," by Herbie Phillips, was an easy swinging opener, and began with a unison trombone line, and featured a relaxed but dextrous solo from tenor man Doug Webb and a characteristic lyrical, long-phrased trumpet solo from Saunders. The band played with superb dynamic range, tight but relaxed, over the grooving rhythm section of Christian Jacob, Dave Stone and Jake Reed. Modern jazz staple, "Two Bass Hit," arranged by Larry Dominello, featured the evergreen
Bob Efford
b.1928
Benny Golson
saxophone, tenor1929 - 2024
Francisco Torres
trombone"Getting Sentimental Over You," also arranged by Phillips, showcased Scott Whitfield, with a fluid, swinging trombone solo, with great dexterity and seemingly effortless playing above the upper register, climaxing at the end with a virtuoso trombone cadenza. The band then played another Herbie Phillips arrangement, "I Think I've Got The Blues." This was a slow, rollicking blues, which kicked off with an ensemble blast, the leader taking the melody in unison with the reed section, with the band swinging throughout like the Basie band. A soulful trombone solo from Francisco Torres was followed by a commanding, tough tenor solo from Jerry Pinter, and Bill Holman's arrangement of Jerome Kern's "All The Things You Are" featured Saunders with Stone's bass, and then a two-chorus, brilliant trumpet solo, the leader's phenomenal bebop chops never ceasing. A brassy shout chorus followed and more Saunders' fluent improvising over the turnaround, with quotes of Flight of the Bumble Bee and other trumpet wit.
Two more Herbie Phillips arrangements followed. "Cottonmouth" opened with a call-and-response passage between Saunders and mellow horn backgrounds, then two fiery bebop fiery alto solo from
Bruce Babad
saxophone, altoAt the conclusion, one was left with no doubt that Herbie Phillips was a tremendous arranger, and that Saunders leads an inspired, virtuoso band that is polished but exuberant, and plays with a relaxed swing.
Film Session: Oop Bop Sh'Bam
Ken Poston continued the Big Band story through the war years, with the eventual influence of the emerging modern jazz of the bebop era. Many big bands that had thrived in the heyday of the late 1930s did not survive the 1940s. Many lost personnel to the war effort, big band swing music as a popular music form waned with the next generation, the economics of touring big bands were increasingly non-viable, and many bands disbanded, some like Count Basie and Goodman re-formed and were able to continue. New big bands arose, deliberately conceived to express bebop in a big band setting, such as that led by Dizzy Gillespie. The swing era bands that did survive had to decide to either preserve their swing era style intact or assimilate some of the small group bebop revolution and modernize. These included Gene Krupa, Elliot Lawrence and
Claude Thornhill
vocals1909 - 1965
Gerry Mulligan
saxophone, baritone1927 - 1996
Part 1 | Part 2 | Part 3 | Part 4
Tags
Big Band Report
Los Angeles Jazz Institute Festival
Los Angeles
Big Band Spectacular
Ken Poston
Bill Cunliffe
Joey Sellers
Fullerton College Jazz Band
Carl Saunders
Luckman Jazz Orchestra
Steve Huffsteter
David Angel
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