by Scott Yanow, 

            One of the very best singers active in jazz today, the Chicago-based Tammy McCann performed recently at the Catalina Bar & Grill with an all-star rhythm section consisting of pianist Tamir Hendelman, bassist John Clayton, and drummer Clayton Cameron. Ms. McCann has a beautiful voice, a wide range, and an expressive style.

            Her performance included such numbers as “All The Things You Are” (which effectively introduced the band), Billy Strayhorn’s “Daydream,” Duke Ellington’s “Don’t You Know I Care” which was performed as a jazz waltz, “Blackbird” (which benefitted from a long opening vamp during which the singer told the story found in the lyrics), a scat-filled “On Green Dolphin Street,” and a slowed-down rendition of “Will You Still Love Me Tomorrow” which turned it into a torch song and put the emphasis on the insightful words.

            Tammy McCann was particularly inventive when improvising over the closing vamps of songs, and when she had close interaction with the musicians. She certainly could not have asked for a better rhythm section! The singer followed a lowdown blues (“Keep Your Man At Home”) with a memorable rendition of “Star Dust” that had a particularly heartfelt piano solo. She closed the night with Stevie Wonder’s “I Can’t Help It,” her original in 5/4 time (“You Ain’t Gonna Love Me Anyway”), and a high-powered ‘Till The End Of The Earth.”

            All of the songs that Tammy McCann performed had positive messages and the love that she has for singing and for music in general was obvious. She is well worth seeing anytime that she comes to town.

THE WEST COAST JAZZ HOUR

            The West Coast Jazz Hour is a quartet co-led by pianist Josh Nelson and drummer Kevin van den Elzen. They began their four-concert residency at the G Spot this year by heading a group that also included bassist Emiliano Lasansky and special guest guitarist Anthony Wilson. Actually Wilson, rather than just being an added attraction, fit very well into the band and, along with Nelson, was featured as a soloist on every number. To their credit Josh Nelson (who a few days later would be playing piano for the Academy Awards) and Anthony Wilson have developed personal styles within the modern mainstream of jazz that sound unlike anyone else.

            The G Spot concerts, held at a private home near Pasadena, always feature comfortable surroundings, excellent sound, and first-class jazz. That was certainly true for the West Coast Jazz Hour’s performance. The group began with Elmo Hope’s attractive if rarely-performed “Dee Dah” and continued with “Introspection On 401” (a waltz reminiscent of Pat Metheny), Wilson’s “Elksville,” Mike Wofford’s “Birds Of Paradise,” Frank Strozier’s “Frank’s Tune,” Bobby Hutchersn’s “Little B’s Poem,” Wilson’s “Etna” (an impressionistic ballad waltz named after an active volcano in Sicily), Hampton Hawes’ swinging “Blues The Most,” the theme from “Chinatown” (during which Nelson at one point quoted “The Peacocks”), and Wofford’s “It’s Personal.” The renditions were often a bit lengthy, giving Nelson and Wilson plenty of opportunities to stretch out. Lasansky and van den Elzen were versatile and swinging, taking occasional solos.

            The result was a spirited night of modern straight-ahead jazz that made one look forward to the West Coast Jazz Hour’s future performances.

            Irving Flores’ Armando mi Conga by his Afro-Cuban Sextet was one of the finest jazz albums to be released in 2025. The pianist, based in San Diego, performed at Sam First at the head of a trio also including drummer Horacio “El Negro” Hernandez from Cuba and bassist Will Lyle.

            Flores is a virtuoso whose solos often find him playing fast explosions of notes and blazing runs with polyrhythms while also embracing warm melodies. On “With Amanda in Favignana,” his chord voicings and percussive style were at times a little reminiscent of McCoy Tyner although infused with his own musical personality. “La Rumorosa” was taken as a medium-slow Latin piece that was quite episodic, purposely shifting tempos a few times; Lyle’s bowed bass solo was impressive. “Tramonto A Massa Lubrense” had Flores contributing some picturesque piano and chords that hinted at Duke Ellington.

The masterful pianist and bandleader Oscar Hernandez was in the audience as Flores performed Hernandez’s tribute to the late Eddie Palmieri, “Very Eddie.” A swinging piece that utilized a lot of whole tones, the piece inspired an explorative and driving piano solo along with strong contributions from Lyle (another bowed solo) and particularly colorful sounds from Horacio Hernandez’s drum set. The night concluded with the cooking “Armando Mi Conga.”

            The veteran Irving Flores is finally receiving some long overdue recognition for his brilliant piano playing and compositions. He was certainly in top form at Sam First.

MON DAVID

Under the guidance of Cathy Segal Garcia, Birds of a Feather, a vegan restaurant in downtown L.A, is now booking jazz on a regular basis. Recently, Mon David, who is arguably the top male jazz singer based in Los Angeles, performed at the venue with the great pianist Otmaro Ruiz, bassist Edwin Livingston, and drummer Chris Wabich. The rhythm section was often quite powerful, and Ruiz’s solos and accompaniment were always worth listening to closely.

            Mon David began with a slow introduction to Horace Silver’s “Nica’s Dream” before it became a swinger. He next performed Freddie Hubbard’s “In Walked Spring” (Ruiz at one point quoted “It Might As Well Be Spring”), a passionate rendition of Sting’s “Fragile,” and a tender “You Must Believe In Spring.” A rollicking version of Thelonious Monk’s “Well You Needn’t” (which when sung has been renamed “It’s Over Now”) featured the vocalist’s wild scatting which was a bit reminiscent of his main inspiration, Mark Murphy. After performing Gregory Porter’s classic “Take Me To The Alley,” Mon David introduced his original “Murky” as a direct tribute to Murphy. The bluesy tune featured adventurous and chance taking scatting, unusual sounds, and unpredictable improvising that Mark Murphy would certainly have appreciated.

DAVE SLONAKER BIG BAND

            Arranger-composer Dave Slonaker celebrated the release of his fourth album, Shifty Pardigms, at Catalina Bar & Grill. He not only featured the same musicians who are on his big band recording but performed all eight songs that are included on the CD which was released by the Origin label.

            The Dave Slonaker Big Band has been together for 15 years. Its personnel include quite a few notables and all 17 musicians are capable of taking rewarding solos. Most impressive among the individual improvisers that night were valve and slide trombonist Ida Meshulam (an up-and-coming talent), baritonist Adam Schroeder (featured on the set’s one standard, “Bye Bye Blues”), altoist Brian Scanlon, Bob Sheppard on soprano and alto, tenor-saxophonist Rob Lockart, guitarist Andy Waddell, and trumpeters Ron Stout and Clay Jenkins. With Wayne Bergeron leading the trumpet section and bassist Edwin Livingston and drummer Peter Erskine driving the ensembles, this big band certainly ranks among the top jazz orchestras around today in Southern California.

However, it is Dave Slonaker’s inventive arrangements, which evolve as they progress, that gives the band its own musical personality. His writing is never predictable or just a run through over repeated chord changes. Each of his originals keep listeners guessing what unpredictable twist or turn is coming next. To name a few examples, “Bye Bye Blues” shifted between 4/4 and 3/4 time (often for short stretches), “Dash Cam” took the music a bit outside in spots, “Come Home” went from a nostalgic mood to becoming hyper with a bit of funk (climaxing with altoist Scanlon and guitarist Waddell soloing together), and “3rd And Four” (a distant relative of “Giant Steps”) was completely unpredictable in its moods, grooves and tempos.

It was a celebratory evening for Dave Slonaker, who told warm stories about each song and was visibly touched by the enthusiastic audience’s reaction and the presence of his mighty sidemen.

UPCOMING

The California Jazz Foundation will be celebrating their 20th anniversary at the OMNI Los Angeles Hotel on Saturday April 11 with their 2026 Gala. Dave Grusin and music producer John Dolphin are this year’s honorees and there will be music by Tom Scott, Grant Geissman, Ernie Watts, the Darynn Dean Quartet, and others. More information about the event and the worthy organization can be gained by calling 818-994-4661.

            The delightful jazz and Brazilian singer Carol Bach-y-Rita will be at Birds Of A Feather on Sunday April 26 at 12:30 p.m. while Catina DeLuna and Otmaro Ruiz will be performing later that day at 6 p.m. at the Silver Lake Conservatory Of Music.

            Catalina Bar & Grill in May has must-see performances in May. Singer Stacey Kent makes a rare appearance in Hollywood on Sunday May 10), the often-dazzling Veronica Swift will be performing on Saturday and Sunday May 23-24 and the Billy Childs Trio is featured on Friday May 29 and Sat. May 30.

          

         Every recording deserves informative liner notes (I have written 1,005) and every jazz musician needs a well-written press biography along with press releases that announce important events. I write all of these and more at reasonable rates. Please contact me at 661-678-3542 or at scottyanowjazz@yahoo.com for further information about my services. My latest book, Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs) is available at www.amazon.com.

My latest book, Jazz Through The Eyes Of A Jazz Journalist (My Jazz Memoirs) is available at www.amazon.com.

I have a new book that is available from amazon.com. Life Through The Eyes Of A Jazz Journalist. It is subtitled My Jazz Memoirs and is my 12th book and first in a few years. I discuss in an often-humorous fashion my early days and discovery of jazz, my period as the jazz editor of Record Review, the story behind my involvement with the All Music Guide, and I reminisce about some of my adventures as an amateur musician. Included are vintage interviews with Freddie Hubbard, Chick Corea, and Maynard Ferguson, encounters with Clint Eastwood, summaries of the Monterey and Playboy Jazz Festivals (including a full-length review of the 1985 Playboy Festival), memories of other events (such as the IAJE Conventions), and brief snapshots of many memorable club and concert performances. There is also background information about my other books, evaluations of the jazz critics who inspired me early on, and my thoughts on jazz criticism which includes advice to up-and-coming jazz journalists. Rounding out the book is a chapter on how the jazz writing business has changed over the past 50 years, and appendixes that include the jazz greats of the past, 86 jazz giants of today, 21 young performers to look for in the future, jazz books and DVDs that everyone should own, and a dozen enjoyable Hollywood jazz films.
Life Through The Eyes Of A Jazz Journalist, a paperback book, sells for $26 through Amazon.com Signed copies (which will take 2-3 weeks) are also available for $30 (which includes free postage) by sending the money via Pay Pal to scottyanowjazz@yahoo.com and by sending your mailing address to that E-mail.