Los Angeles Jazz Scene - Jazz Around Town
                          October 2011
JAZZ AROUND TOWN

FIVE GREAT CLUB APPEARANCES

       While we all mourn the closing of Charlie O’s (a club that had succeeded Donte’s, Alfonso’s and Chadney’s as the
top musician hangout), let’s cheer on and support the Los Angeles jazz clubs that are still with us. At Catalina,
Charlie Haden’s Quartet West recently celebrated its 25th anniversary with an outstanding set. Comprised of
bassist Haden, tenor-saxophonist Ernie Watts, pianist Alan Broadbent and drummer Rodney Green (who succeeded
Larance Marable a few years ago), Quartet West was heard in prime form. The group has long given Haden (who
became famous for his work with Ornette Coleman and avant-garde groups) an opportunity to play cinematic
music reminiscent of 1950s Los Angeles, and Watts (who at one time was best known for his commercial dates) a
chance to take his place as one of jazz’s great tenors. Performing a Steve Kuhn original based on “Confirmation,” an
altered blues, a calypso, Haden’s haunting “First Song” and Ornette Coleman’s “Lonely Woman” (which found
Broadbent playing heated bass lines in a very free fashion), the quartet created continually surprising
improvisations. Green’s drum solos were creative and melodic, Broadbent showed that he remains a musical genius,
Watts’ explorations were always full of soul, and Haden was happily beaming throughout.
      Altoist Richie Cole, who now lives in the Los Angeles area, brought his Alto Madness Orchestra to Santa Monica’s
Typhoon. The septet, comprised of trumpeter Ron Stout, trombonist Alan Ferber, Doug Webb on tenor, pianist Lou
Forestieri, bassist John Belzaguy and drummer Dave Tull, showed that practically anything can be turned into
spirited and witty bebop. Starting off with a blazing version of “Hooray For Hollywood,” the night included an Afro-
Cuban jazz version of the “I Love Lucy” theme, “Tokyo Rose Meets The Hollywood Blues,” “Come Fly With Me” and
“The Tonight Show Theme” (from the Johnny Carson years); does any band in the world play the latter? While all
of the soloists sounded fine, Cole was the main star throughout. He took “Pure Imagination” as an emotional
unaccompanied solo, jammed with the quartet on a very fast version of “Cherokee” (which he renamed “Charlie
Parker Goes To Hollywood”) and was quite inventive on “I Can’t Get Started.” Dave Tull had an opportunity to sing
his classic “I Just Want To Get Paid.” All in all, it made for a fun night of high-quality bop.
      Guitarist Anthony Wilson, who brought his quintet into Vitello’s, has been such a major fixture of the jazz scene
in Los Angeles that it is easy to take his playing and arranging talents for granted. Joined by trombonist Alan
Ferber, pianist Josh Nelson, bassist Darek Oles and drummer Mark Ferber, Wilson performed music that ranged
from hard bop to free, often falling somewhere in between. The opening “Dinkel’s Blues” had a complex theme before
becoming a medium-tempo blues but also had many free moments. Alan Ferber’s playing was both witty and
adventurous while Nelson’s piano solo had a floating rhythm with the beat implied rather than stated. While “I’m
Old Fashioned,” after an out-of-tempo guitar introduction, became a more conventional swinger, the original ballad
“Etna” was an atmospheric piece that found Ferber using a cap as a mute on his trombone that made his horn sound
like conch shells. “Transitron” featured a long solo guitar section and was essentially mellow avant-garde music.
The rest of the evening (which included several brilliant Josh Nelson piano solos) was equally unclassifiable and
quite intriguing. Hopefully this Anthony Wilson ensemble will record in the future.
      Sony Holland, a delightful singer, appeared at Vibrato recently with her husband guitarist Jerry Holland,
pianist Theo Saunders, bassist Pat Senatore and drummer Kendall Kay.  A quiet and lyrical singer, Ms. Holland
performed such numbers as a bossa nova “It Might As Well Be Spring,” an intimate version of “I Only Have Eyes For
You,” “September In The Rain” (with the obscure verse), “Just For A Thrill,” Teddy Edwards’ “L.A. After Dark” and
several of her husband’s fine originals, including “It’s An Understatement” and “I Was No Angel Myself.” Although
the group should work on varying the frameworks a bit (many songs were just two choruses long with the first half
of its second chorus being instrumental), the music and Sony Holland’s voice (particularly effective on long tones)
held one’s interest throughout.
      The very entertaining Ann Hampton Callaway always knows what she is doing onstage. A powerful singer with
a very wide range, she has continued to evolve as a jazz singer through the years and now ranks near the top. At
Catalina, she used Tierney Sutton’s all-star rhythm section (pianist Christian Jacob, bassist Kevin Axt and
drummer Ray Brinker), and the musicians were quite attentive during her fast-paced show. They opened with an
instrumental version of “That’s All” (in 7/4 time) before Ms. Callaway performed “In A Mellotone” (which showed
off her range and scatting abilities), brief and humorous imitations of Billie Holiday and Sarah Vaughan, a version
of “How High The Moon” that paid tribute to Ella, “Wave,” a comedy version of “All Of Me,” and “You’ve Got A
Friend.” One of the highpoints was a funky and saucy rendition of “Ain’t Misbehavin.’” Her closing number, an
improv song based on audience suggestions, ended up discussing the joys of being a cat. Another song, if one wanted
to write an accurate one, could be about the joys of being in the audience during a show by Anne Hampton
Callaway.

THE SWEET & HOT MUSIC FESTIVAL, PART ONE

      It is arguably the top annual jazz festival held in Southern California. The Sweet & Hot Music Festival was
originally a purely dixieland marathon but it has expanded through the years to include swing, singers, big bands,
some bop, zydeco and even r&b. What has not changed is that that the event takes place for four days over the Labor
Day weekend, music can be heard simultaneously on eight stages at the LAX Marriott, and the festival is great fun.
With all of the choices, one can create their own festival, sticking exclusively to singers, bop, Dixieland, swing or
1920s jazz. On Saturday alone, there were 72 sets to choose from, and that does not include the late night jam
sessions.
      Out of all of the performances that I caught that weekend, one was particularly astounding. Guitarist Gonzalo
Bergara is a virtuoso who has developed his own style in gypsy swing, inspired by Django Reinhardt. His quartet
also includes the superb violinist John Anick, rhythm guitarist Jeffrey Radaich and bassist Brian Netzley. In
addition to their six sets as a quartet, they were joined by guitarist Howard Alden for a stunning hour. Alden, who
had played acoustic guitar with Rebecca Kilgore’s band the night before, was mostly on electric guitar for this set
with the acoustic group. Starting with a rapid version of “What Is This Thing Called Love,” it was quickly obvious
that this was a magical combination. “I’ll See You In My Dreams” and “Minor Swing” both received standing
ovations, with the violinist taking solo honors in a close contest. Bergara and Alden played acoustic duets on a
gentle “I’m Confessin” and a blazing “Honeysuckle Rose.” Because the room was packed, the audience was very
enthusiastic and the music was on such a high level, rules were bent and the quintet was allowed to go slightly
overtime, ending with an explosive version of “Shine.” Throughout the hour, the guitarists could not stop smiling,
and it is a sure bet that the audience members talked about this special set for many days to come.
      I will write much more on the Sweet & Hot Music Festival next month.