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
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.
"Something The Cat Dragged In," an Urwin composition, was a fast samba with a happy unison trumpet melody. Ron King took a fiery upper register solo, followed by some unaccompanied interplay between the brass and reed sections. Drums entered, and accompanied a trumpet fanfare, heralding the full band, a lively Kim Richmond
curved soprano sax solo and an energetic Ralph Razze drum solo. A Beautiful Friendship, title track of a recent Urwin album, featured Watrous and tenor-man Doug Webb on the main melody, with Saunders' trumpet on the bridge. Webb followed with a magisterial tenor solo, Watrous answered with some high register pyrotechnics, before a short ensemble chorus. A brilliant Jacob piano solo gave way to a chorus of Saunders trumpet fire, before the ensemble reprised the melody.
You Don't Know What Love Is was played by Watrous' swinging, smooth trombone in the upper register, with some unexpected oboe on the second eight from Phil Feather
, before the trombonist took a marvelous solo chorus. A contrasting interlude of haunting, more lugubrious wind sounds and discordant muted brass harmonies, gave way to a fine but brief Christian Jacob piano solo. Stepping up to a crescendo were eight bars of saxophone section, eight from the whole ensemble, and a fortissimo ending, building up to the final trombone high note. Autumn Sojourn, featured also on "Friendship" and on Saunders' own "America," is a wonderful Saunders gem of a Latin tune, with a mellifluous, soaring trumpet solo from the composer, a muscular tenor solo from Billy Kerr
and a joyful piano solo from Jacob.
It Could Happen To You, a bright and happy, medium-up swinging tempo arrangement, featured Doug Webb on a full solo chorus, and some fine bones-plus-bass section work weaving contrapuntally with the trumpets. Jacob took a fine, swinging piano solo, before some spirited trading between himself, Webb and drummer Razze. Thus ended a very agreeable, swinging big band session with imaginative arrangements of old and new material, and wonderful soloing by top shelf players. Scott Whitfield Jazz Orchestra West
Whitfield has established a formidable reputation on both coasts and internationally as a brilliant trombonist and an inspired arranger/leader. He leads a fine West Coast band, which was featured here and augmented by his vocalist wife, Ginger Berglund
"Teaneck," composed by the great cornetist Nat Adderley
, with whom Whitfield had played early in hjs career and a major inspiration to him, was taken at a cracking tempo and featured the leader on two choruses of terrific trombone bebop, and fine solo choruses from alto man Billy Kerr and pianist Jeff Colella
, followed by some punchy brass combat with Kendall Kay's drums. Lee Morgan
's lovely bossa tune, "Ceora," in a refreshing 6/4 waltz re- configuration, started with a neat muted trumpet with trombone unison intro, and then warm, brassy voicings and a full ensemble chorus, launching a lively Whitfield trombone solo. He played two incredible choruses, with mighty soloing over his wide trombone range, playing marvelous lines in the upper register. The ensemble then propelled Steve Huffsteter
into a lyrical flugelhorn solo for two superb choruses, a bouncy bass solo from Jennifer Leitham
, and the brittle sounds of the harmon-muted trumpets over the flutes on the final melody. This was a particularly memorable piece.
The wonderful ballad, "The Bad And The Beautiful," was announced as a tribute to the great, veteran trombonist Dick Nash
, who was in the audience, and featured each trombonist, in succession, playing the melody, with flutes-plus-baritone sax in the bridge. The double-time ensemble section that followed had many delightful, unexpected harmonic 'left turns.' "In Walked Horace" was a gospelly mid tempo offering over rhythm changes, and featured Jamie Hovorka on harmon-muted trumpet on two swinging solo choruses, underpinned by some delightful Thad-Jones-ish reed backgrounds on the second bridge. Rich Bullock played a cheeky, idiomatic bass trombone solo, and fellow section-mates Gary Tole and Fred Simmons answered with muted and open trombone solos of their own. "Magical Lands," a Whitfield composition, a fast samba with a bright, attractive melody and inspired by his time working in Orlando, featured some melody exchanges between Brian Clancy's flute, Whitfield's trombone and Hovorka's flugelhorn, as they negotiated the theme which alternated from minor to major, and back to minor. Fine solos followed from pianist Jeff Colella, Huffsteter's flugel (masked by mike problems), Clancy's flute and finally Whitfield's bone solo over ensemble with rhythm section vamps.