Black Violin, comprised of Afro-American violist/vocalist Wilner Baptiste (Wil) and violinist Kevin Sylvester (Kev) keep audiences spellbound with an irresistible, yet seemingly unlikely mix of hip-hop and classical. Originally from Fort Lauderdale, Florida, they created and perfected their unique musical slant during the late ‘90s to the early 2000s, while in high school, and college after winning scholarships to different institutions.
They recently brought their audacious show to the Cerritos Center For The Performing Arts, with support from drummer/percussionist Nat Stokes, and keyboardist/programmer/DJ SPS/Liston Gregory. The Grammy-nominated musicians, whose band name comes from pre-bop/swing violinist Stuff Smith’s last recording before dying in 1967, know how to appeal to audiences. Early on they won Harlem’s Showtime at the Appollo Theater famed Amateur Night four times consecutively. That led to them touring with artists such as Alicia Keys (gave them their first break), Aerosmith and the Wu-Tang Clan. Justifiably, they have been on the top of both Classical Crossover and R&B charts.
In performance at CCFTPA, they astounded the audience with covers of Bobby Caldwell’s “Do For Love” and Bill Withers’ “Just The Two of Us,” soulfully sung by Wil. “To The Top” from BV’s latest record Full Circle kept the party going with blistering violin, hot drumming and powerful singing. Reaching back to their roots, the string players got into some instrumental jamming with drums and turntables, which they labeled “Freestyling” and had the crowd clapping along.
The DJ did a set as well that was equally well-received, working off of Beethoven’s “Fifth,” Nelly’s “Hot In Herre,” Yes’ “Owner of a Lonely Heart” and other tunes.
For more range, Wil sang country flavored “Beautiful Day,” also on the new release and recorded with Lalah Hathaway. For a bit of a classical workout, “The Brandenburg Concerto Number 3” featuring Kev (first tune the duo ever played together) and “Gigue” from Bach’s “Cello Suite No. 6 in D Major,” with Will and drums joining in was also served up. The compositions also were a springboard for the string players to promote their Black Violin Foundation and urge kids to practice, practice, practice…
During the closing moments of the exhilarating concert the hybrid group spotlighted a few more new tunes, including the self-professing “Live My Life.” For more info go to: blackviolin.net and ccpa.cerritos.gov.
After a meteoric rise in the late ‘60s, with top-selling hits, three Grammy’s, including onebeating out the Beatles’ Abbey Road in 1970, jazz/rock/soul ensemble Blood, Sweat & Tears nearly fell into obscurity. That was mainly due to an East European State Dept. sponsored tour they agreed to doing in hopes of getting Canadian lead singer David Clayton-Thomas’s immigration status in good standing.
They also were not allowed to reveal the agreement (reference 2023 documentary What the Hell Happened to Blood, Sweat & Tears?). Unfortunately, the tour and a questionable sold out show in Las Vegas afterward, long before people under 30 approved of the city’s then seedy image, pretty much doomed the pioneering band’s future prospects. Despite that history and other issues, the band without Thomas, who supposedly leads his own version, lives on.
They appeared at the Cerritos Center For The Performing Arts with tenor lead singer Sam Ryan and Brad Mason-Musical Director/lead trumpet at the helm. Horn blazing and hard singing “Go Down Gamblin’” shot the 10-piece band out the gate with a signature mix of rock energy, melded with muscular brass choruses and arrangements. Ryan stated that thanks to the audience the band’s been going strong for the last 50-plus years, which drew strong applause.
Going back to the band’s 1968 debut album Child is Father To The Man was the super soulful, guitar ripping and much sampled “I Love You More Than You’ll Ever Know,” originally sang by the band’s founder Al Kooper. From there songs from BS&T’s eponymous most popular and 2003 Rock & Roll Hall of Fame Inducted album were showcased.
Among them were “Smiling Phases” by Traffic; Billie Holiday’s immortal, resoundingly sang and powerhouse brass soloing “God Bless the Child;” Laura Nyro’s Western themed “And When I Die” dedicated to Vietnam vets and all Armed Forces personnel; and Thomas’ hip and sophisticated jazz oeuvre “Spinning Wheel” featuring the lead trumpeter. Of course, the show wouldn’t be completed without one of the record’s best known songs, the super joyful “You’ve Made Me So Very Happy” by Brenda Holloway and radiantly sung by Ryan.
For more variety, Jeff Coffey bassist and former lead singer for the one time rivaling band Chicago (2016-2018), joined BS&T. They effortlessly shifted to the lighter and poppier songs of The Rock & Roll Hall of Fame group, beginning with “Feelin’ Stronger Every Day.” The concertgoers also like other tunes by the soprano vocalist and Chicago, which included, “Does Anybody Really Know What Time It Is?,” “Saturday in the Park,” Songwriter Hall of Fame “Just You ‘n’ Me” boosted by a striking tenor sax solo and classic rock horn gem “25 or 6 to 4.” Finishing things off was an extended version of Bo Diddley’s impactful “I’m a Man,” popularized by The Spencer Davis Band and Chicago, who in the hands of their founder/guitarist Terry Kath totally rocked it out. For more info go to: bloodsweatandtears.com, www.jeffcoffey.com and ccpa.cerritos.gov.
One Shot Deal, the zany Frank Zappa spinoff band derived from Dweezil Zappa’s, Zappa Plays Zappa group, and also title track of his posthumous 2008 album, produced by his wife Gail Zappa and drummer/vault master Joe Travers, elatedly returned to the Baked Potato. They dedicated the show to recently departed super Zappa fan and their longtime comrade Steven Durgin.
With Scheila Gonzales-sax/keyboards/vocals, Pete Griffin-bass, Billy Hulting-vibes/percussion, Jamie Kime-guitar, Ben Thomas-vocals/misc., Joe Travers-drums/vocals and Matt Rohde-keyboards they leaped into Zappa’s wacky, sundry and musically rich canon mostly from the ‘70s, his most popular era. Thematic “(Going to) Montana (Soon)” was laden with Thomas’ comical singing and a wailing guitar solo. While originally gritty “Fifty-Fifty” was transformed into funk/rocking jazz instrumental, featuring scorching vibe and sax solos.
For “City Of Tiny Lights” the vocalist was more conventional sounding as the band rocked out with extensive guitar solos and thrashing drumming. Revving things up even more and generating plenty of excitement was the funk/rocking “Pygmy Twylyte,” strongly accented by sax, guitar and keyboards. It coolly segued into the contemporary jazz sounding instrumental “Dupree’s Paradise.” The piece amazingly recalled Zappa’s halcyon years when keyboardist George Duke, violinist Jean-Luc Ponty and vibraphonist Ruth Underwood were in his consortiums.
The band took a short respite afterwards and did a selfie with the audience. They returned to more signature Zappa craziness with “Florentine Pogen” and “Andy.” The tunes were bolstered with inane vocal choruses and lyrics, propelled by hard-hitting drumming, fiery guitar and eccentric band augmentation to fully captivate the crowd. Wrapping up the fast-paced set was the mischievous and brass-simulated “St. Alfonzo’s Pancake Breakfast/Father O’Blivion” and Zappa/Captain Beefheart’s insanely grunge-rocking “Muffin Man” that nearly blew the roof off of the club. For more info go to: oneshotdeal.rocks/ and www.thebakedpotato.com.
It’s getting to be a regular thing for Herbie Hancock to appear at Disney Hall (and the Hollywood Bowl) and bring either his or long-time friend Wayne Shorter’s grandson or both out during introductory remarks before performing. But this year, probably because it was a school night (Tuesday) neither one of them was there and instead the living-legend keyboardist received wishes for his 86th birthday (April 13th), which occurred the day before. In response to being asked if he had a good birthday, he said, “Yes I woke up.”
In truth, it’s hard to think of Hancock as an elderly person, because he has such a timeless quality about him and is still eager to explore things. With bassist James Genus, trumpeter Terence Blanchard, guitarist/vocalist Lionel Loueke and drummer Jaylen Petinaud, he launched into a somewhat solo and introspective version of “Maiden Voyage.” It was one of his earliest hits as solo performer in the ‘60s and remains popular to this day. The same could be said for the funk grooving “Watermelon Man” that received a 21st century polish up with the current band that included the bandleader soloing with a strap-on synthesizer.
From there they traversed different eras and modes of jazz, with Hancock admitting that they’re trying to changeup the set list. In that regard, “Actual Proof” from the mastermind keyboardist’s Headhunter period was performed. The whirlwind jam was originally written for the Black militant 1973 film The Spook Who Sat By The Door and overflowed with fusion styled attributes and solos to bring down the house.
Coming down from that “band high,” Hancock and cohorts shifted to an easy flowing unnamed piece featuring Loueke’s sweet-sounding wordless singing and guitar synth playing. They additionally got traditional by rendering Shorter’s classic “Footprints,” arranged with an atmospheric edge by Blanchard and now a regular setlist inclusion. After heightened modern jazz forays and interactions, flowing “Butterfly” also a regularly played selection, drew relaxing “ahs” from the crowd.
The remainder of the concert focused on Hancock’s ground breaking funk number “Rockit” and immortal mega-groove “Chameleon.” For the latter, the 86-year old bandleader was again donning his portable synth to gyrate and workout futuristically with his younger bandmembers, all to the crowd’s delight. They returned the energy with a frenzied standing ovation. For more info go to: www.herbiehancock.com and www.laphil.com.
The Stinkfoot Orchestra don’t really perform per se; they instead are a Frank Zappa/Mothers of Invention mega experience/primer. Like a weed sprouting out of the pavement, the 14-member SF Bay Area-based band, founded by Nick Chargin, their keyboardist/guitarist/vocalist, determinately learned the intricacies of Zappa’s idiosyncratic merging of jazz, rock, classical and lewd satire beginning in 2019. After the Pandemic subsided in 2021, they were ready for action and have been touring regularly to the delight of dedicated and sometimes deranged Zappa-heads.
The muscular amalgamation commandeered Venice West for about three and a half hours with four brass players, layers of rhythm coconspirators, two backup singers and guest appearances from former Zappa bandmembers. Among them were singer Napoleon Murphy Brock and trombonist Bruce Fowler. After a bit of crazed introductory fanfare, the madcap ensemble somewhat settled down for the highly subversive “I’m The Slime (Oozing Out of Your TV).” They then got weirdly funky for “Advance Romance” and “Pygmy Twylyte.”
Zappa’s compositional chops were exhibited for his late ‘60s hard-driving and circus-like Uncle Meat theme and jazzy guitar/synth laden Läther (see Zappa in New York for the original title).” Additionally included was rampaging orchestration for “Teenage Prostitute,” embellished with high pitched operatic singing from backup vocalist Lizie Skow and an instrumental version of “Zomby Woof.” For conventional jazz (for them anyway) was post-bop styled “Titties & Beer” and “What’s New in Baltimore.”
Brock led the craziness for the ever popular “Montana,” brass scorching “Honey, Don’t You Want a Man Like Me?” and bawdy “Dirty Love.” It, along with high-octane interstellar roving “Andy” and similarly structured “Inca Roads were also adorned with Fowler’s signature soloing.
In the vein of rocking R&B was “Can’t Afford No Shoes,” featuring scintillating guitar and soulful vocal choruses, and likewise for bluesy “Your Mouth.” “Love of My Life” was straight-up doo-wop and took the crowd back to Zappa’s teenage years.
Conversely, his wackier tunes such as “The Muffin Man” and “Cosmik Debris” closed out the show to receive an uproarious standing ovation. Prior to the full blown show, there was a half-hour a cappella glee segment with the assembly all donning purple robes, spouting Zappa philosophy, and singing “Let Me Take You to The Beach” and “What’s The Ugliest Part of Your Body.” For more info go to: stinkfootorchestra.com and thevenicewest.com.
Brazilian-born, Grammy-winning vocalist and educator Luciana Souza, who arrived in the U.S. in 1985, has collaborated with a wide range of artists, including fellow Brazilian guitarist Marcel Comargo, whom she met stateside. Their recent performance at CAP UCLA’s Nimoy Theatre previewed selections from their upcoming project New Moon, with support from a string quartet comprised of Maya Magub (first violin), Joel Pargman (second violin), Rita Andrade (viola), and Charlie Tyler (cello).
The concert opened with Gilberto Gil’s lively “Ladeira da Prefuiça (Hill of Laziness),” blending Souza’s joyful vocals and scatting with strings and guitar. The group continued with elegant Brazilian pieces, including Souza’s original “The Spirit Hanging There” and João Donato’s bossa classic “So Danco Samba,” featuring lush strings and a gentle guitar solo.
Expanding their repertoire, Souza and ensemble performed Venezuelan composer Simon Diaz’s haunting “Tonada de la Luna Llena (Song of The Full Moon)” in Spanish, highlighted by pizzicato strings, and excerpts from Spanish composer Federico Mompou’s Music of Silence, which merged seamlessly with Souza’s inventive wordless vocals and the quartet’s evocative playing.
Comargo paid tribute to João Gilberto with an original and one of Gilberto’s classics, while Souza honored Jobim and performed “Chuva de Verão (Rain in The Summer),” a traditional Brazilian song she learned from Caetano Veloso, accompanied only by guitar and cello.
The concert concluded with a musical adaptation of American poet Elizabeth Bishop’s “Insomnia” and a century-old piece by choro composer Ernesto Nazareth, featuring Souza’s pandeiro playing. The group received a standing ovation and performed an impromptu samba encore. For more information, visit: lucianasouza.com and cap.ucla.edu/
Tyshawn Sorey, a drummer, pianist, composer, educator and the 2017 MacArthur Fellowship Award Winner, announced at the beginning of his concert at CAP UCLA’s Nimoy Theatre he would be taking the audience on a journey. Many artists say that, but Sorey was actually being modest—because the journey was actually a soul-drenching odyssey. The drummer/bandleader, with pianist Aaron Diehl and bassist Harish Raghavan began sparsely with minimal notes and rhythms, which slowly became an abstract crescendo, propelled by thunderous drumming and explorative piano, while bass became a reinforcing foundation.
As the bassist and drummer played overpoweringly, Diehl masterfully injected strains of veiled compositions from the trio’s upcoming release Journey to The Pulse of Now, current record The Susceptible Now, and Brad Mehldau’s “Bealtine.” With no breaks or backlisting in the midst of the seamless show, it was difficult to discern the pieces performed. Additionally, the dynamics and interplay between the musicians was extremely intense and magical.
Sonically, the show began somewhat atonally and non-rhythmic, but shifted into having form and body. Raghavan soloed while the others were less dominant before ramping things up. At one point, the trio transformed into somewhat flowing and melodic groove of sorts that resembled the characteristics of Herbie Hancock, Keith Jarrett and Billy Childs with less-forceful or pastoral interludes.
Contrarily, Sorey, Diehl and Raghavan also fiercely employed classical-like forays with nearly unfathomable pulsating cadences that would have worn out a metronome and were explored to the maximum. The climax was more of a relief to the audience than the players as they slowly descended while maintaining up-tempo and lightly funky motifs. Diehl additionally showcased his classical and Latin prowess to draw hoots and howls from the crowd.
During the last 10 minutes of the near 90 minute set the musicians winded down with relaxing and lightly grooving excursions to draw an enthusiastic standing ovation. The crowd fervently requested an encore, but the bandleader told everyone the group had to leave for LAX to catch a redeye flight back to New York. For more info go to: www.tyshawnsorey.com/ and cap.ucla.edu/
Anyone looking for intelligent, elegant, subtle and tranquil music, with no fanfare or indulgence has to look no further than pianist Fred Hersch. The seven-time Grammy- Nominated artist, 2003 Guggenheim Memorial Fellowship For Composition Award Winner and 2016 Doris Duke Artist Recipient, performed at the Moss Theatre recently. Backing him for the Jazz Bakery’s Movable Feast series was his longtime bassistDrew Gress, and drummer Johnathan Blake.
They got things underway with the sweeping and highly refined “Little Song” from Hersch’s 2024 album Silent Listening that was adorned with the pianist’s beautiful playing and masterful band interplay. Afterwards, he mentioned having some great internships in New York as a young player in the ‘80s. One of them was with the legendary saxophonist Joe Henderson. That prompted him to play the saxophonist’s engaging 1964 post-bop tune “Serrenity” that was strongly accented by Blake’s invigorating drumming and soloing.
The title track of the pianist’s latest record The Surrounding Green followed and featured him playing movingly solely. It then seamlessly became Brazilian Egberto Gismonti’s “Palacio de Pinturas” with stimulating drums and bass accompaniment. Hersch lingered on the Brazilian tributes with the similarly structured original “Sand Poet” dedicated to Juan Carlos Jobim, which drew strong applause from the audience.
Hersch also varied the program with some older pieces, such as the atonal and slightly abstract “Calligram,” and the very lively and stimulating “Forward Motion.” He returned to more melodic and exquisite playing with Jimmy Webb’s timeless pop hit “Wichita Lineman.” It and bossa flavored “Anticipation” from the new album abounded with stellar band interactions that delighted the attendees. The award winning pianist closed the inspiring show in his typical fashion. First with a ballad, “This is Always” popularized by Betty Carter and a Thelonious Monk number, high energy/bebop jaunting “Evidence,” to garner a standing ovation. For the encore, he serenely played Billy Joel’s very popular “And So It Goes” solely. For more info go to: fredhersch.com and www.jazzbakery.org.
Judging by the company New Orleans-raised pianist Sullivan Fortner has kept for the last 15-years, he is both a gentleman and a scholar. As a gentleman, he’s a favorite of women vocalists, many because of his sophisticated lyricism and adept finesse. With fellow musicians, he’s versatile, creative and open, yet also grounded. In terms of being a scholar, the pianist cut his teeth at New Orleans’ renowned Center for Creative Arts (NOCCA) high school, graduated from the Oberlin Conservatory of Music and earned a Master’s at the Manhattan School of Music.
Additionally, Fortner is a recipient of the 2015 American Pianists Association Cole Porter Fellowship in Jazz, 2016 Lincoln Center Award for Emerging Artists, named by DownBeat Magazine in 2016 as one of the 25 for the Future and in 2020 named by DownBeat Magazine’s Critics’ Poll as a Rising Star Arranger. Furthermore, he received The Gilmore’s Larry J. Bell Jazz Artist Award and won a Grammy for Best Jazz Instrumental Album for his Southern Nights recording this year.
At UCLA’s Center For The Art of Performance’s Nimoy Theatre, the immensely talented pianist, best known for his Grammy-winning work with the acclaimed singer Cécile McLorin Salvant, took a deep dive into music. With cohorts, bassist Tyrone Allen and drummer Kayvon Gordon, he began by spryly playing Monk’s effervescent “Trinkle Tinkle.”
Afterwards, the trio quickly shifted to an interesting mixture of tunes that included neo-bop original “Poignant Times” and not easily recognized “Changing Keys (Wheel of Fortune Theme)” by Merv Griffin. Another selection, “The Sorcerer’s Stick” was the bandleader’s mashing of Herbie Hancock’s “Sorcerer” and Donald Brown’s “Early Bird Gets The Short End of The Stick,” which were somber and almost macabre. In contrast, “No Smoking” by Horace Silver was up-tempo hard-bop with lightning fast runs and hot band tradeoffs.
A sumptuous solo bass intro, eventually with the full trio became Ellington’s elegant classic “Little African Flower (Petite Fleur Africaine).” Fortner displayed his classic training for the MJQ-like treatment of Gabriel Fauré enchanting “Au Bord De L’eau” to draw strong applause from the listeners, and also included a sweeping version “My One And Only Love”
Saving it for the end was Clifford Brown’s bebop piece “Daahoud” from the pianist’s latest recording, and more classical playing to garner a zealous standing ovation. Upon his return to the encore, Fortner asked the audience if they were going to see the new Michael Jackson movie. After getting mixed reactions he jumped into playing the King of Pop/Toto’s “Human Nature” and “The Man in The Mirror” with the audience clapping along. For more info go to: www.sullivanfortnermusic.com and cap.ucla.edu.
