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Los Angeles Jazz Institute Festival "Big Band Spectacular" 2017, Part 3-4

Simon Pilbrow By

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Los Angeles Jazz Institute Festival Big Band Spectacular
LAX Westin Hotel
Los Angeles, CA
May 24-28, 2017

Part 1 | Part 2 | Part 3 | Part 4

Saddleback Jazz Combo

The young Saddleback five piece jazz combo featured a tenor and baritone sax frontline, with a rhythm section of guitar, electric bass and and a fine young drummer. They presented a loose set of Real Book 1950s-60s Blue Note catalog, playing Miles Davis' "Nardis;" Wayne Shorter's "JuJu" and "Fee Fi Fo Fum;" Horace Silver's "Nica's Dream" and two standards, "Misty" and "Darn That Dream." Both saxophonists had good range of sounds, the baritonist having a good grasp of the Mulligan-Adams spectrum and phrasing, and the tenorist, a post-Lester Young/Stan Getz/Zoot Sims axis also with some nice phrasing. Both horns and the guitarist tended to play bursts of good ideas, but not yet telling a complete story. As a group they probably would benefit from some more rehearsal and greater polish, but they showed their nascent jazz chops, and it will be good to watch their improvisatory skills develop over the coming years.

Ron King Big Band

Ron King presided over his a tight band that tours to Asia and beyond and has a strong personnel with a forward-leaning repertoire with a healthy continuity with the legacy of modern jazz. They opened with Gigi Gryce's "Minority," taken at a fast bebop pace. Caeser Martinez kicked off with a strong, Pepperish baritone solo, followed by a fiery Ian Vo tenor solo, a virtuosic Ido Meshulam trombone solo, and Brian Schwartz' fiery trumpet. The sax section played a Supersax-like harmonized bebop solo, followed by spirited drum trades between Kevin Van Den Elzen and the ensemble's unison lines. A Ron King arrangement of Rodgers' "Where Or When" began with a pensive intro, evolving into a lovely re-harmonization of the melody, and some lively, ebullient flugelhorn soloing from the leader, and some magnificent piano soloing from Andy Langham, with exuberant, sparkling, crystalline right hand lines falling from his fingers. "Shine," a Ron King original, written for his son, was a Latin tune, with echoes of Woody Shaw compositional territory, and featured the leader's fluent flugelhorn solo, Dan Boissey's assertive hard-bop tenor and young Erik Hughes in a brilliant, fiery and fluid post-bop trombone solo. Some warm ensemble sections followed, building to powerful ensemble blasts, before a quiet and reflective flugelhorn reprise of the melody.

Next was another Ron King original, "A Long Way Home," a fast Latin tune inspired by the music of, and his associations with, Willie Bobo, Cal Tjader and Tito Puente. It featured the leader's confident upper register playing about the ensemble, leading to a fine tenor solo from Jimmy Emerzian backed by high register brass section work, and another exciting, swirling piano solo from Langham, and more strong ensemble passages and stratospheric trumpet. There was fine Latin drumming from Van Den Elzen throughout, and some fine dueling between Phil Feather's spirited clarinet and the leader's trumpet.

"Greetings From Earth" was a fast, swinging, modal blues, designed to be ready to explain jazz to an unexpected alien visitor. It is good that Ron King is prepared for such visitations, and it sets a fine example for us all. It opened with four choruses of brilliant piano from Langham. A simple riff melody of repeating notes was matched by a blaring trumpet section rejoinder. Solos from King and tenor saxophonist Ian Vo were followed by warm, mellow brass chordal passages and deft bass vamping from Max Krauss, gruff bass register trombone bursts sparring with plunger muted trumpets. This was followed by some beautiful unaccompanied reed section work (soprano, two flutes, clarinet and bass clarinet), launching a fiery Dan Boissey soprano saxophone solo. Trumpet section blasts led to quiet sax chords and a dextrous bass vamp, and a vigorous drum solo from Van Den Elzen, returning the band to the repeating riff head, and a blaring ensemble rejoinder with low register trombone unison riffs. A whirlwind tour of jazz for the now vertiginous aliens, and for the audience, this was a climactic ending to a tremendous set. A few bars of "Blue Monk" to sign off, and it was over.

Gary Urwin Jazz Orchestra with Special Guest: Bill Watrous

Trumpeter/Composer/Arranger Gary Urwin has led a fine big band for many years, predominantly playing his own arrangements. Several fine recordings, featuring the strong talent of its soloists, particularly trombone legend Bill Watrous, tenor titan Pete Christlieb and trumpet masters Bobby Shew and Carl Saunders. Building on the legacy of all the modern big bands, he writes imaginative compositions and finds new textures and sounds when revisiting the standard repertoire. While much of the content of this concert has been heard in his recordings, many new charts were heard.

Clifford Brown's beautiful bop perennial, "Joy Spring," continues to inspire musicians and listeners alike, with its happy phrases and cheerful chord progressions. It has always been a favorite of trumpeters, and in this arrangement there were friendly trumpet trades between Carl Saunders and Ron King, fine piano work from Christian Jacob and energetic sax soli passages. The standard "Beautiful Love," recorded on Kindred Spirits, was played up-tempo, and featured some mighty Doug Webb tenor sax on the melody, and upper register trombone from Bill Watrous. Fine solos from Saunders and Webb led to some vigorous tenor and trombone trading with drummer Jake Reed. "I guess I'll Hang Up My Tears To Dry" has been a feature for Bill Watrous' warm and thoughtful trombone ballad playing, supported by Urwin's nice brassy backgrounds, and later with sensitive woodwind textures with flutes and bass clarinet. Christian Jacob followed with a beautiful piano solo.

"Chucho," a minor Latin tune, was a feature for Billy Kerr's tenor sax and Kim Richmond's alto sax. Nice muted trumpet section work led into a sparkling Jacob piano solo, and some trading and fine interplay between bassist John Takiguchi and percussionist Brad Dutz. The piece ended with some lively brass section work with fine rhythmic accompaniment from bassist Takiguchi and drummer Ralph Razze. Polkadots and Moonbeams featured Carl Saunders, alternating on the melody with the reed section (flutes-plus-bass-clarinet), playing the last eight bars over descending, mellow brass voicings. This led into some nice double time ensemble work, before Carl returned to the final melody with his clarion upper register notes.
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