PERFORMANCE REVIEWS
PERFORMANCE REVIEWS |
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First of all this is a superb band, (and) having said that maybe 'superb' is too staid a word because this band drives, swings, and then swings some more.
The principal reason that this aggregation is
in a class by itself is quite simply the following:
THESE CATS
Carl Saunders Leader and Trumpet,Trumpets Pete Desiena, Lee Thornberg, Bob Summers, Ron Stout, Trombones Charlie Loper, Scott Whitfield, Andrew Lippman Craig Gossnel. Saxes Lanny Morgan, Glenn Morresett, Pete Christlieb, Jerry Pinter, Bob Efford. Piano John Campbell.. Bass Dave Stone. Drums Santo Savino
Rarely do you have an ensemble that houses the creme de la creme of the jazz nation and this one does just that, and then some.
The opening number 'Strike Out The Band" featured Jerry Pinter's tenor sax solo along with the brilliant Bob Summer's trumpet message. This tune is very heavy swingwise and the soloists reflected that in spades.
Lanny Morgan on alto and leader Saunders' trumpet soliloquies on 'Cottonmouth" were faster than a knife fight in a phone booth. I do not mean mindless torrents of notes with no direction. I'm talking about solos filled with IDEAS.. no frivolity here.
Ron Stout has always been a notable member of the trumpet elite and he shows why on 'Never Always' a perfect vehicle for his remarkable tone. Speaking of trumpet mavens, Carl Saunders took 'In A Sentimenta Mood' to new heights (literally). Solowise he reached every person's inner being in the club. The glitterati in attendance were mesmerized by Saunders ultra soulful and beautiful solo.
Scott Whitfield is recognized by his peers as being among the top trombonists of his generation. To hear him pay tribute to Tommy Dorsey had this writer spellbound. Suffice it to say that TD would have felt honored and perhaps a bit envious to hear his theme song given such dazzling treatment. Whitfield gets more notes out of a trombone than some sections do. Thus we have 'I'm Getting Sentimental Over You' in a brand new bag but performed reverentially nonetheless. Pure dynamite.
As for the leader Saunders, his 'Dearly Beloved' was anothe demo in speed...but again speed that had meaning. He has the ability to go beyond what the average trumpet player does. I personally think that Carl Saunders has set a new standard for this instrument.
Pete Christlieb and his tenor was all over 'Giant Steps' (No easy task) this solo was another eye widener and brow raiser. Santo Savino's extended drum solo was a study in dexterity and another standard setter.
A tribute to the late Bob Florence was paid with his composition 'Carmelo's By The Freeway'...And Saunders and Christlieb paid him due respect with some heavy duty swing. Bob would have felt honored and pleased.
In closing I would like to thank Nick and Llisa Minea for their affection for and support of American jazz. More folks like these are sorely needed.
Great jazz club, super band, and after all 'Who Could Ask For Anything More'
Carl Saunders, trumpet
Sam Most, flute, bari, clarinet
Chuck Berghofer, bass
Christian Jacob, piano
Santo Savino, drums
It has been said "Show me who you're runnin' with and I'll show you who you are" and these musicians all ran with the best and became the finest among the finest in the jazz genre.
Up, Up and away was the byword for the opening number (All The Things You Are) and Carl Saunders' blistering solo was breathtaking (for me) not Saunders, as his breath control is amazing.His long rapid fire phrases were up in the stratosphere with the changes parlayed into a veritable art form within the tune. 8 bar exchanges all the way around made it spellbinding to say the least.. Saunders ripped and soared, Most followed suit with a speedy message of his own and Berghofer laid down bass lines with a tone like silk on cashmere. Santo Savino cleverly added his imperator. In a word "All The Things You Are" was given a new lease on life. Christian Jacobs was as slick as quicksilver and his ideas were not only imaginative but performed with a brilliance one can only be born with.
Carl Saunders got my attention with a tribute to this writer entitled "Blues For Johnny Jazz" he prefaced matters with a humorous semi roast
interspersed with clever bon mots, par example; "John Gilbert was a burning drummer back in the old days, but got burned out and retired"
This tune strutted along masterfully with all participants soloing and tearing through some swinging fours. Needless to say, I was more than
impressed.
"Bernie's Tune" and "I Got Rhythm" were all upstairs in the rarefied air where few dare to go.
These musicians are the cream of the musical crop and I was honored to have been the recipient of such a tribute by the very best of the best
in this medium.
Nancy Kelly In Los Angeles Concert
December 1, Charlie O's, Los Angeles
Theo Saunders, piano, John Heard, bass and Roy McCurdy on drums
December 3, Aframe Jazz, Hollywood
Theo Saunders, piano, Pat Senatore, bass, Ralph Penland, drums, and Thom Rotella, guitar
December 5, Vibrato, Bel Air
Same ensemble as above, minus the guitar.
Nancy Kelly, as is her custom, came into town with her patented hip style and ready smile to electrify audiences at all three venues.
Charlie O's is one of the top 100 jazz venues in the world,
Jazz at the Aframe presents the top artists worldwide in a setting that is perfect for jazz. The stage overlooks the city of Hollywood and presents a perfect backdrop to it. Betty Hoover the Grand Dame of it all, reigns supreme. The buffet is delectable and the drinks flow like fine wine.
Vibrato is an elegant restaurant with an exquisite ambiance and decor, that features the artistry of Pat Senatore, not only on the bass but he doubles as artistic director and does a fine job at both.
Nancy Kelly is perhaps the finest jazz vocalist on the scene today. I have written many accolades about this extraordinary performer and some bear repeating, She has range, pitch, phrasing, and she understands what to do with the lyric, much like the late Anita O'Day. Kelly scats the changes like an instrument. The phonetics are rapid fire excursions into pure artistry. "It's Alright With Me" is a perfect example of her vocal dexterity and "I Concentrate On You" is beautifully performed in a Latin mode. This is a singer that is the ultimate performer as witnessed by the audience reaction at the Aframe which was amazing. This was the most exciting performance ever at Betty Hoover's house of jazz, according to the lady herself.
Theo Saunders pianistic ability rivals anyone in the business today. His solos are constructed into works of art. Saunders can caress a ballad in a way that is both mysterious and beautiful. He can go upstairs like the roadrunner on steroids. Theo Saunders is the perfect accompanist for Nancy Kelly.
Pat Senatore is a bassist that has endured the jazz wars and emerged unscathed. His tone is like velvet and he has the time of a Swiss watch. Senatore is a natural and he hasn't lost a step in his musical career. It is always a pleasure to see and hear this master of the upright bass.
Ralph Penland is a drummer of taste and sensitivity. Penland's brush work is the standard by which all drummers should adhere to. His control is complete, his time is flawless and is well suited to embellishing a singer's performance.
Thom Rotella's fiery guitar added some heat to Nancy Kelly's already scorching engagement at the Aframe. In both ballads and up tempos he is more than equal to the task.
One minor glitch occurred when Kelly sang a 'Happy Birthday' to an audience member. She (on purpose) sang it in a wild and strange gospel style, which is not her bag..It was done for effect.
If you caught one of these gigs you are fortunate, if not, you missed the Real Deal (Nancy Kelly) in action, She is magnificent
LAX Westin Hotel..Los Angeles..Dec. 1, 2004
It has been said by this writer that the seductiveness of the female voice in song, courts the soul of any man who listens. It is the lure of the siren and the irresistible call of the muse, Euterpe....
The lure of Nancy Kelly lies in the rhythmical, harmonic and melodic ideas and concepts that flow forth from this remarkable singer.
From a sizzling ballad to a jump riff tune, one thing remains constant in Kelly's magical repertoire, and that is swing. It pours outward, not only in sound, but in stage presence, phrasing and intonation. All of these attributes are natural and unaffected and that makes it all the more profound.
Nancy Kelly gives 110% in every performance and the audience can feel that effort, it shows in their reaction and response which is immediate and effusive. Her music becomes boldly original and creative..A true Promethean exertion of power and beauty.
The crowd was moved in many ways; from hushed approval and respect as Kelly's touching and pungently pervasive rendition of "More Than You Know" was sung, to rousing applause as she literally waxed the room with a rapid fire and blazing version of "Jeannine"
This artist is a seasoned performer who has honed her craft to the point where it is not necessary to 'think' about the tune, it has become part of her being, thus giving rise to a natural swing that is now inherent in every performance. Some call it 'soul' and it is indeed an intensity of feeling and earthiness that permeates Kelly's style..Soup du jour, it ain't.
With so many "Jazzette" singers on the scene it is more than refreshing to hear "The Real Deal" as Ray Pizzi the sax wizard declares, or the only great jazz singer today, according to Milcho Leviev the prolific and talented Bulgarian pianist.
Christian Jacob was one third of an exceptional trio that backed Miss Kelly beautifully. Jacob is a formidable musician known for his association with Tierney Sutton, but is certainly his own man. Dexterity, speed, phrasing are all attributes of a artist who paints with his own brush. (He was clearly captivated by Nancy Kelly's extraordinary range and luxurious excellence).
Dick Weller was the master of sensitivity in backing Kelly, His embellishments were apropos to the message laid down by Kelly and his solo was magnificent. The exchanges between the singer and the drummer brought the crowd to its feet. Discretion, thy name is Weller.
Chris Colangelo is the perfect bassist for this type of swinging / euphonious ear pleasing sound. Colangelo is recognized by his peers, the clerisy and the intelligentsia alike as one of the finest bass players on the scene today.
On hand for the festivities were some of L.A.'s top singers, sisters in swing, as it were. Julie Kelly, Judy Wexler, and Denise Donatelli, all exceptional talents.
Nancy Kelly will be back in Los Angeles in February to revitalize the music scene.
"I Thought About You"
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East Coast Bop Still On Top
(Pictured Johnnyjazz and Lenore Raphael)
Venue: The Westin At LAX (Los Angeles, CA)
May 26, 2004 -
The East coast has always been a driving force in jazz, and it was no exception on this night as award winning pianist Lenore Raphael from NYC, was joined by bassist Chris Colangelo and drummer Tim Pleasant, who both reside on the left coast, but whose musical roots are in New Jersey and New York respectively. Each combined to show an appreciative audience some hard hitting bebop sounds.
Now the 'Middle' East has given us Milcho Leviev, who joined forces with this magnificent trio and all things considered, made it an even more noteworthy event. Leviev, armed with a Melodica, got every ounce of swing from this seldom heard instrument with clever solos and jumped right to the heart of hip on the exchanges.
Lenore Raphael is a bop inspired pianist with Bud Powell influences that are infused in her own inimitable style. Raphael treats the ballads with respect and gives new meaning to the life force of jazz, BeBop.
Clearly inspired by each other, these 4 musicians had fun and fun begets freedom and freedom begets SWING.
Lenore Raphael is a composer cum lyricist and has written some tunes that are fast becoming classics in the jazz milieu. "Johnny Jazz" a Raphael original, has garnered a lot of airplay with her instrumental version and is currently among the vocal tunes that Denise Donatelli has on her new album (to be released soon)
Milcho Leviev added another dimension to this fine tune. His contribution on the fours and his brilliant solo wove a tapestry of pure beauty and when combined with the fiery artistry of Raphael, the hip audience showed its approval with smiles and applause.
Among those in attendance were jazz vocalists Julie Kelly, Denise Donatelli, Judy Wexler, and Diane Hubka. Jazz writer Bob Agnew of the L.A. Jazz Scene and 'Song Scout" Roger Crane were also on tap, with pens in hand writing furiously of the nights events.
Marcia Hillman, the acclaimed lyricist who collaborates with Raphael on occasion and has made historic music with Joe Derise, Giacomo Gates and others, was also on hand.
Chris Colangelo plays the bass like he was born to do just that..His style was made to order for this group. His facile fingers fly magically on the fast tempos, or in contrast, caress the strings tenderly on the ballads. Colangelo is understandably much in demand and rightly so as he is among the premier bassists on the jazz scene.
Tim Pleasant always has the ensemble in mind in his responses and adds to the soloists message with perfect accents and embellishments.
It has been said that Lenore Raphael has a love affair with the piano and this love shines through in every performance. She is a true professional who honors America's music with unparalleled talent and elegance.
Los Angeles welcomed Lenore Raphael and company with open arms and hearts and she responded with a memorable and passionate performance.
April 22, 24, 26, 2004, The Crowne Plaza in Los Angeles, Tony's Steak And Seafood in Ventura, The Lighthouse at Hermosa Beach -
One of the most energetic explosive events known, is a supernova. While many supernovae have been seen in the past (in other galaxies) they are rare events in our own galaxy. The same can be said of jazz musicians, an explosive event is rare in this day and age where most singers sound like Minnie Mouse on helium and the intrumentalists sound like new years eve noise makers.
In the past week at the Crowne Plaza in Los Angeles, Tony's Steak And Seafood in Ventura and The Lighthouse at Hermosa Beach, there were some "explosive events" right here in sunny California.
First consider a gathering of the best musicians in the jazz world along with the foremost jazz singer in this galaxy, Nancy Kelly.
At the Crowne Plaza..Miss Kelly's stratospheric orbit was launched by The genius of pianist Theo Saunders, Bassist extrodinaire Chris Colangelo, and the tasteful drumming of Tim Pleasant. This was ground zero, to be followed by a magical night at Tony's Steak And Seafood, with the piano mastery of Drew Salperto and Nancy's favorite Bassist Chris Colangelo and of course the scintillating Miss K herself.
The sun was hot at Hermosa Beach and so was Nancy Kelly as she mesmerized the Lighthouse audience with her magic. Her worthy constituents, Ray Pizzi (Tenor), Jack Sheldon (trumpet), Greg Eicher (bass), Steve Cotter (guitar) and the venerable Bobby White on drums, supplied the fuel..Nancy and the boys rocked the house to thunderous applause. Kelly held the band and the crowd in the palm of her hand.
The musicians were effusive in their praise, with Pizzi saying "Nancy Kelly, you are the REAL THING, simply awesome"..Jack Sheldon smiling impishly in approval and Cotter and Eicher anxious to resume the swingfest again soon.
Back to ground zero at the Crowne Plaza...The minute Nancy Kelly hit the stage and sang the first tune, the audience was transfixed and the ensemble was ecstatic. It was just just one of those nights, just one of those fabulous flights when pure jazz ruled the night and electricity filled the room.
By the time "Till There Was You" and "Jeannine" "More Than You Know" and the sassy blues "Ain't Nobodies Business" was performed, it got hotter than baked grits at a down home church social.
Clearly inspired by Nancy Kelly, and Vice versa, Theo Saunders was spellbinding, his solos were beyond superb and his comping for Kelly plumbed the depths of emotions from tenderness to G force drive
Colangelo was never better, time was automatic, his solos were a work of art and he wove a tapestry of brilliant colors to draw upon...
I will repeat the essence of Tim Pleasant, and that is..."A minimum of fuss and a maximum of taste"..No vocalist could ask for more, his accents and embellishments were perfect and as my friend Artt Frank would say "He was in the moment"
This was the first of three clinics that Nancy Kelly would put on, I say clinics because from the first note to the last it was a lesson in jazz singing, scatting, and SWING, absolute unadulterated swing and you know it don't mean a thing if you can't hang with swing.
If swing was gold, Nancy Kelly would be the richest woman on earth..So would her trio of cohorts...
To call it just a gig would be a disservice, it was a supernova in JAZZ.
It was an intimate setting at Tony's in Ventura, with a nice crowd. Drew Salperto was joined by the ubiquitous Chris Colangelo on the 'wood'. Again the reaction from the crowd was a mixture of cheers and applause after each tune. I have been at Tony's many times since the days of Leroy Vinnegar, Billy Higgins et al and I have never heard a response like this..EVER. The owners were pleased, the waiters were transfixed and even the chef came out to see what 'swing' looked like in person..A fan turned to me and said "I am blown away, I get goose bumps during every tune" An elderly gent, a stroke victim, actually began to cry and wave his arms... She can heal the sick and lead the blind to swingsville.
Salperto was at his best infusing the tunes with sensitivity and professionalism and Colangelo was, as always, magnificent. This too was an event to remember and Kelly will return in the fall to Tony's and to Clancy's Crab Shack in Glendale, Ca
Nancy Kelly and the NEW Lighthouse All Stars made a bit of history in Hermosa Beach, when for the third night in a week, Kelly wowed a knowledgeable, hip group of listeners...
The scat bag of Kelly made Jack Sheldon pause with his trumpet half way to his lips, Pizzi leaned to Kelly and said, " You are unbelievable" Steve Cotter and Greg Eicher responded with, "That is Pure Swing, We have to line up some gigs"
Nancy Kelly traded fours with Pizzi and Sheldon to the delight of the listeners, and she takes no prisoners.
Bobby White is 78 years of age in actual life, but is only 20 when he plays the drums. White has the command of his instrument and is hip to backing a vocalist and he solos like a champ. He is as good as his Art Pepper days.
Nancy Kelly, plus Jack Sheldon, Ray Pizzi and Cotter and Eicher made the world pause in it's orbit for a moment and smile in satisfaction at this swinging jazz supernova. It was an experience to savor till the next time. After all, like Pizzi, Kelly has the range the size of the King Ranch in Texas, a ballad style to melt your heart and swings like the Flying Wallenda's. It gets no better than this, only different. Jazz ain't dead, it still struts its stuff, led by giants like these incomparable musicians. Case Closed. Until next fall.
Michael D's Jazz Club, Camarillo, Ca.10-11-03
Mitch Holder (g), Ray Pizzi (saxes, flute), Dave Carpenter (b), Steve Barnes (d)
This is a quartet that could make "Ave Maria" swing. Every player is a virtuoso.
Mitch Holder and his cohorts "play anything they want to" and if you understand what that means, you are among the very hip.
Holder, as has been said many times, is a first call studio musician, and for good reason, but as a jazz player he shines like the midday sun on a summers day. Mitch Holder plays ballads with a sensitivity that is exquisite. On the up tempos his fingers and mind become one as he works magic with the immediate transfer of ideas to his instrument. In a word he is a true virtuoso of the jazz guitar.
Leonard Feather once said, "Ray Pizzi comes on stage cooking and sweating before he plays a note"..... Pizzi plays a love song with the emotion only a genius can engender. Each note is tenderly caressed and guaranteed to bring goose bumps to those of us that love the bittersweet warmth of a ballad played with unabashed tenderness, like a warm kiss after an intense love scene.
Now Ray Pizzi comes on like gangbusters when entering the realm of pure swing. His energy catapults a jump tune into another level of exuberance, it becomes contagious, the room is electrified with the joy his playing brings forth. Mr. Pizzi can turn a gentle rain into a hurricane in an instant. From steamy romanticism to raw emotion, nobody does it better than the Pizzi man.
Dave Carpenter is a Bassist of immense talent. He is the perfect addition to this ensemble. His facile fingers bring forth a beautiful sound and his solos are breathtaking. No spear carrier is Carpenter, his presence is the straw that stirs the potent drink in this band. His power is felt throughout, be it sweet or hot, he gives it all he's got and that dear reader is one serious contribution in a helluva nut shell.
Steve Barnes has the gift of adding just the right amount of backing to the soloist. Some drummers sound like a psychopath let loose in a drum shop with cacophony as their aim and agenda. Barnes, however, has the touch and sensitivity to enhance the feel of the tune. He does not overplay and on the exchanges he displays both humor and aptness in his rejoinders.
From sweet and sultry to hard bop, it gets no better than this. This is a big league unit and every player is a star in the galaxy of the jazz world.
Michael D's Santa Rosa Jazz Club. Camarillo Ca. August 9, 2003. ATribute To Charlie Parker.
Freddie Redd (p), Sal Marquez (tpt), Zane Musa (as), Pat Senatore (b), Kevin Tullius (d)
To call last nights performance a 'gig' is like calling the Bolshoi Ballet a dance team from Russia.
A very expensive lithograph of Charlie Parker was on display near the bandstand and it was more than just decoration it was a reminder that this presentation was honoring a man who changed the course of musical history with his genius.
Freddie Redd was right in the middle of the NYC bop scene and was privy to the likes of Bird, Bud Powell, Dizzy et al. Redd is the essence of Powell in spirit but the soulful artistry is his alone. Freddie Redd has turned comping into an art form. His solos are marked by blistering arpeggios and a 'touch' that one has to be born with. The ballad style of this legendary jazz figure has a sweetness that is reminiscent of Tadd Dameron.
As Redd sits hunched over the Piano creating magical sounds and a bit of fury, the audience is transfixed by his mastery and explodes into thunderous applause on the final note.
God has wisely prevented mere man from describing 'sound', it has to be heard to convey the sense and feeling. Woodsheds will be occupied by all Pianists who were at this extravaganza. The standard has been set.
Zane Musa drains and wrenches the bottom out of every chorus. He is an edgy player whose energetic style reflects his raw emotion and it worked nicely within the context of this group. I might add that he was aided and abetted by the comping of Redd (as were all of the players) Musa brings it all to the table and it is served up in furious style. Nothing is held back as he 'gets after it' with abandon.
Kevin Tullius is in a class by himself, he is a Drummer of exquisite taste and why not? He plays every instrument in existence which gives him rare insight into the most efficient manner and means to swing to the absolute maximum. Freddie Redd was clearly captivated by his (Tullius') exceptional skill. Redd was cleverly into an 'appogiatura' mode in his interplay with this Drummer. It worked gloriously.
Pat Senatore, he of the velvet sound and the perfect time was the heartbeat of it all and his solos were feats of dexterity, style, and most importantly substance.
Sal Marquez was a most important asset to this ensemble. On the unison parts with Musa it reflected the Bird / Dizzy feel to perfection. Marquez's solos were refulgent and inventive.
The initial set opened with "Scrapple From The Apple" and it was bop heaven from then on. The pervading ambiance was stunning as this tune rocketed into cyberspace. Everyone soloed and the four bar exchanges were dramatic as each player parlayed his time at bat with missionary zeal.
"All The Things You Are" was truly the angels glow that lights the stars. Redd was spellbinding in his pianistic mysticism. One could close their eyes and hear musical provenance in the making as Bud Powell's presence was felt through Redd's power and influence. Zane Musa was into this tune like a hungry dog on a ham sandwich and he ate it up.
"Night And Day" found the piano comping and romping. Marquez was looking speculatively at Redd's magical chord work, and smiling, he put the horn to his lips and blew the house down.
"Lover Come Back To Me" was pure unadulterated NYC BeBop from top to bottom.
"Now's The Time" and it WAS the time as everyone swung. Senatore's thought provoking solo brought applause from the gathered. litterati as well as the gliteratti.
"Round Midnight" was all that this night promised in one tune, as everyone put total effort into making it work splendidly.
"Cherokee" is still orbiting the universe.. up there with space stations and Mickey Mantle homerun blasts.
Suffice it to say, the past was honored in magnificent fashion by this group of stimulating musicians.
Bird, in his rich voice must have said "My worthy constituents, you have paid me homage and I thank you". And so does everyone who was at this performance. It was real jazz.
Freddie Redd's improvosational genius is unparalleled....
Michael D's..Camarillo, Ca....5-24-03
Pinky Winters (Vocals), Tom Garvin (Piano), Chris Colangelo (Bass), Kendall Kay (Drums)
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Pinky Winters cooly swung in her free and easy style, giving respect to the melody and soul to the lyrics. It was an impressive performance.
A leisurely mood lingered on "I'm Getting Sentimental Over You" This tune was given new meaning by a slow excursion into sweet romanticism. Miss Winters swank urbanity was in full bloom on this exquisite rendering.
"Early To Bed" featured hip sophistication and the lovely sound of Winters, as she went right to the hearts of the connoisseurs of Jazz in attendance. The response of the devotees was enthusiastic.
"I'm In Love Again" was sweetly showcased by Winters' arresting version. Peggy Lee would have been moved by this imposing interpretation of her song (Cy Coleman as well)
Tune after tune was followed by appreciative applause from the attentive cognoscente present.
Pinky Winters has a magnificently textured tone, her phrasing is impeccable and the timing is perfect.
Aiding Miss Winters in her conquest of Michael D's was the ubiquitous Pianist Tom Garvin, whose specialty is accompaniment and he does it with a flair not often seen.
Kendall Kay's skillful enrichments complemented the posh stylishness of Winters most effectively.
Chris Colangelo is an adaptable Bassist, he is able to capture the intent of the performance with uncanny ability. His solos were highlighted by a magnificent sound and melodic fluidity.
This ensemble perpetuated what we all know, that real Jazz is alive and kicking.... And Miss Pinky Winters continues to capture the hearts of all who listen and listen they did on this cool night of cool jazz. Yes indeed.
Michael D's ..Camarillo, Ca...5-23-03
The Jazz Ensemble of Kim Richmond (Alto, Soprano) and Bob Florence (Piano) blended beautifully, creating a musical message that swung, bopped and balladized flawlessly.
Joining Richmond and Florence were Scott Whitfield on Trombone, Chris Colangelo on Bass and Mike Stephans, Drums.
With a tone reminiscent of J.J. Johnson and the dexterity to go along with it, Scott Whitfield was magnificent.. The counterpoint between the two horns was a study in musicianship and technical know how. Whitfield's bop inspired solos captured the attention of not only the scribes but the afficionados as well. His ideas were brilliant and his sound made it even more canorous. Scott Whitfield is a Trombonist who will soon be recognized as a major force on his instrument.
Overtones of Charlie Parker were present in Kim Richmond's strong yet fluid style. His ideation is remarkable and his ability to swing is unparalleled. The exchanges showcased his inventiveness and humor. Richmond is quite simply refulgency personified.
Chris Colangelo added his musical savvy on the Bass. He was truly the heartbeat of the rhythm. His solos were, as always, thoughtful and melodic. On the fours he was clever and clearly inspired.
Mike Stephans is a Drummer who is discreet and yet speaks volumes in his cool style. He is a master of embellishment. His playing adds immeasurably to the soloist.
Bob Florence is a harmonic genius, his solo piano on 'Every time We Say Goodbye' paid tribute to a great tune in grand style. Florence's comping was a huge asset to the soloist. This Grammy winner always brings sophistication and cognition to every engagement and recording. Superlative is the byword for this musical treasure.
Fine musicians plus good tunes equal great jazz, and that's what it was...Great jazz.
The Crowne Plaza in Los Angeles (4-10)...Michael D's in Camarillo (4-11) and Clancy's in Glendale (4-12)
Nancy Kelly....Vocals
Tom Garvin...Piano
Chris Colangelo...Bass
Jason Harnell..Drums
THE REAL DEAL
When Nancy Kelly strides on stage and picks up that microphone, an aura of excitement pervades the room. One can feel the electricity in the air that always precedes a special performance. There are many vocalists with certain attributes that enable them to perform acceptably, Kelly goes beyond this. The magical quality of Nancy Kelly lies in the fact that she has all of the aforementioned attributes, plus the intangibles that make her the "compleat" performer and arguably the top vocalist on the jazz scene today.
With ballads, Miss Kelly creates a mood as sultry as a warm southern night, She embraces the lyric and transforms the words into a sweet message of truth and beauty.
When turning up the heat Kelly's scatting is a dizzying excursion into the land of Be-Bop. Every movement is a natural reaction to the music. Her use of the microphone is extraordinary in its virtuosity as she utilizes it for tonal changes in a manner that transforms it from a volume enhancer into a virtual musical instrument .
She is not afraid to take chances and when she does, one realizes that it is really not chance taking, it is pure unadulterated talent speaking volumes. As her constituents often say.."She gets after it" like no other singer in the biz.
The audiences were alternately transfixed and exuberant on this west coast tour and being for the most part jazz oriented, they turned out in force, a testament to Kelly's drawing power.
The accompaniment for these performances were some of L.A.'s best. Tom Garvin at the piano comped beautifully and was mesmerising in his ballad interpretations.
The ubiquitous one, Chris Colangelo on Bass added his perfect time and as usual his solos were a thing of beauty.
Jason Harnell on Drums was also impressive as a keeper of the time and was a fine addition to this ensemble.
Nancy Kelly's range is phenomenal, her lyric treatment is divine, and her scatting is true to the origins.
The de rigueur of every performance for Kelly is swing, swing and more swing..She will make the rounds on stage, first stopping at the Piano for a few bars, then doing a Bass turn and finally a stint at the drums.
Nancy Kelly gives 100% to every appearance . She is a true professional in every sense of the word. Her sound is God given, but her talent has evolved from working in clubs all over the world and this has refined her stage presence into what it is today.
Miss Kelly is a musical treasure and a gift to the world of jazz, she is a living testament that jazz singing is alive and well....And that my friends is a consummation devoutly to be wished.
SPAZIO..April 17, 2003
Personnel: Jimmy Dykes (P)..Harvey Newmark (B) Doug MacDonald (G)..Bobby Shugold (F)..Phil Feather (Oboe)..Brian Walsh (Clarinet)..Bob Carr (Bassoon)..Bob Summers (T)..Jack Coan (T)..Stephanie O'Keefe (French Horn)..Ira Nepus (TB)..Bill Reichenbach (Tuba)..Jack LeCompte (D)..
Doug MacDonald has assembled a most interesting group of musicians with instruments not often heard in Jazz ensembles. This eclectic mix was obviously well thought out by MacDonald because the grouping blended beautifully.
The swing or bop tunes were given a new treatment in sound and the ballads had a haunting quality, and were the perfect vehicle to showcase the sound that the leader (I'm sure) had in mind.
There were more chops on that bandstand than in Schwartz's Meat Market. Jack Coan and Bob Summers the two Trumpets were blazing a fiery musical trail, It was Dizzy's business being taken care of by these superb players.
Sammy Kahn's "It's You Or No One" featured blistering solos by Coan and Summers, Doug MacDonald's Guitar wove a magic spell as he swung like a porch glider in a hurricane.
"T and G"..(Trumpet and Guitar)...Straight ahead jazz at it's best as the Guitar of the leader and Summer's Trumpet were case studies in musicianship. Very hip.
Basie's "9:20 Special" paid homage to "Base"
and MacDonald rides again in his soliloquy.
"Leavin' Lenox" was bright and breezy, Reichenbach's Tuba led things off followed by some good old call and answer between the sections. Ira Nepus's Trombone smoothly soloed in his patented style. Summer's Flugelhorn was refulgent in its beauty.
Spazio was packed and jammed by jazz buffs from all over, it was elbow to elbow with very hip folks, which is always exciting to see, it reassures one that our music is loved and appreciated.
Like an August night in New Orleans the music was both hot and sweet..and highly desirable.
Doug MacDonald has put together a new sound with the old swing and it works, struts and sashays with a confidence bred of great arrangements and the best musicians in the business.
Doug MacDonalds photo courtesy Bob Barry http://www.jazzography.com
Michael D's, Camarillo, Ca. 3-8-03
This performance was as hot as a bowl of baked grits. It smoked, it steamed and it simmered with three of the top Guitarists in the jazz world cooking up a storm, and when you add Kendall Kaye on Drums and Chuck Berghofer on Bass, you have a musical dream team.
To say that Anthony Wilson is a superb Guitarist is an understatement. His dexterity and ideas are spellbinding. Whether it's a ballad or bop, Wilson's phrasing is phenomenal. The notes fly fast and furious, and always perfectly constructed and apropos to the tune.
Anthony Wilson is an avid historian of this music we call 'modern jazz'....When asked how he became so knowledgable about such stalwarts as Earl Coleman and King Pleasure, he explained that it was the result of seeking out their music early on. One must feel that this interest certainly is reflected in his playing. After all, interest creates energy which in turn generates imagination and inventiveness.
Mitch Holder matches anyone, anywhere in the business of improvisation and style. He has speed to burn and ballads to sweetly rhapsodize. Listening to Holder extrapolate on his instrument is a joyful excursion into a place where notes become more than sounds..They are vivid splashes of color on a canvas of inspiration and artistry. In a word Mitch Holder is synonymous with elegance and proficiency.
The ebullient Thom Rotella's exuberance is felt in every passage of his solos. Rotella matches his worthy constituents in virtuosity and expression. He was the perfect choice in this tribute to the late Wes Montgomery.
Kendall Kaye exhibited refinement and tact in his role as keeper of the time. His playing was in tune with the moods of the moment, never overplaying. Kaye fit in nicely with this group.
Chuck Berghofer continues to flourish in the world of music. Along with Kaye, the time was perfect and his solos were thought provoking, slightly dark with humor slyly interjected and a Bass sound that years of experience have refined into a thing of beauty and eloquence.
Most of the tunes were Wes Montgomery originals with some standards added that were given new life by this assemblage of talented artists.
Compositions like "Dearly Beloved" done at racehorse tempo were remarkable in the fluency and acrobatics that put it into orbit....Montgomery's "Sundown" was the opener and set the stage for things to come, everyone swung and it was the first chapter in a night of grandeur, refined grace and no holds barred stimuli.
Mitch Holder, Thom Rotella, Anthony Wilson, Guitars.
Chuck Berghofer, Bass
Kendall Kaye, Drums
Michael D's..Camarillo, Ca...1-10-03
The assembled fans at Michael D's were treated to the engaging personality of jazz legend Ron Anthony, a Guitarist of exquisite taste and talent. Anthony spent 9 years with Frank Sinatra, which incidentally was longer than most of Frank's marriages. The warm intimate style of Anthony is juxtaposed by his dynamic bop bag, in which he excels equally.
With Ron Anthony were Drummer Mel Lee an excellent player, and highly acclaimed Bassist Bruce Lett.
Lee is a study in the art of embellishing the soloists, never intruding, always tasteful. Lett is an accomplished improviser whose time keeping is like a fine Swiss watch.
"Polka Dots And Moonbeams" has a lovely melody and this trio gave it a magical feel, just the right inflection and warmth. The nuances and 'touch' of
Ron Anthony on this tune makes it clear why he was so respected by Sinatra and George Shearing.
"Straight No Chaser" gave everyone a chance to stretch out and have some fun with the late Mr. Monk's composition.
Tadd Dameron was paid homage to, by way of dedication to yours truly. He would have been pleased, that I know.
It was another night of January Guitar magic at Michael D's as the dulcet sounds of strings filled the air, and it isn't over yet.
Michael D's, Camarillo Ca...Nov.1, 2002
This was a night of pure jazz. Mike Melvoin, at the Piano swung from the rooftops on the up tempos and warmly embraced the ballads with such passion that words cannot describe the feeling it engendered. Melvoin has recorded with Frank Sinatra and with Natalie Cole on the Grammy winning hit "Unforgettable" which is indeed unforgettable considering the impact that it had on the public.
This magnificent Pianist has appeared with so many giants of jazz that it would be pointless to name them all. Mike Melvoin is also the (perennial) musical director of the Grammy Awards.
His first love is jazz and the great American songbook, and it is deliciously evident in his performance. His sense of time is impeccable, the ideas flow from his fingers like magic. His style is bop inspired, firmly rooted in the soul of Bud Powell.
"I'm Confessin' started out sweetly and ended up as a rollicking swinger. The trio was as tight as King Richard's hat band and just as regal.
"All Or Nothing At All" was another example of the excellence of this fine trio. Melvoin's Piano work and flying fingers got this tune into orbit. Bruce Lett's Bass solo was mystical, and showcased his facility and soulful message. John Guerin's effortless drum work was a pleasure to witness, once again the time was flawless and his enhancements and accents for the soloists were superb. Guerin recently returned from a tour of Sweden, and it was the good fortune of Michael D"s to welcome him back home.
The world's premier jazz writer, Gene Lees and his lovely wife Janet were chief among the luminaries in attendance. Gene and Roger Kellaway are scheduled to appear at Michael D's in January.
This was a special night in the annals of this fine jazz club. It is only going to get better as the Nov. schedule shows..
Nancy Kelly has traveled the world over, from Istanbul to Switzerland as well as the Far East, with stints at Birdland and the Blue Note in New York City. She has graced the stages of the major jazz spots on both coasts. But when the first eight bars of "I Love Being Here With You" were sung, a packed house at Spazio in Sherman Oaks, Ca. collectively fell under her spell.
Whether caressing a ballad with intimacy and sensuality or shifting into dead red with a blazing rendition of "It's Alright With Me" this lady has all the ingredients of a super star.
When Kelly took over the Piano for a few bars, then the drums, and finally tossing in some ultra hip scatting, the audience erupted into appreciative applause for her showmanship and versatality
The utilization of the microphone in singing is an often overlooked asset and Nancy Kelly uses the mike like a Stradivarius, creating variances in tone with skillful artistry.
Miss K is blessed with clarity of sound, superb intonation and that innate ability to make everything swing, even the ballads sweetly move and groove.
There is an old axiom that says "There are the best, and all the rest". Nancy Kelly is certainly not "The Rest" ...She is simply the best.
With Nancy on her California tour, which included Soho in Santa Barbara and Michael D's in Camarillo, were the some of the top notch musicians in the business. The brilliant Dino Losito at the Piano provided exactly the moods needed for Kelly to stretch out. Losito is an inspired bopster who coaxes every bit of soul out of the Piano. This Pianist is a soon to be force in the jazz world. He just needs to be heard.
Chris Colangelo is a master of the Bass, He is a veritable time machine and a marvelous soloist. His addition to this ensemble was an integral part of it's foundation. Colangelo has the rare ability to bring out the best in his constituents on the bandstand.
Tim Pleasant on the Drums was the final ingredient that got the whole gig off the ground. Tastefully accenting at the right moment and adding fills that grooved things ever so nicely.
The musicians were smiling, Kelly was impeccable, and the attendees were more than pleased. Who wouldn't be? This is jazz at it's best baby.
Michael D's..July 20-21-2002
As Hot As It Gets
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