By Chris J. Walker
With year number two completed—it’s official—the Los Angeles Philharmonic ran Hollywood Bowl Festival, formerly the Playboy Jazz Festival, which is definitely now, the Blue Note Jazz Festival. However, the LA Phil is still associated with the event, and 6 pm was the new start time for both days. For many longtime attendees, some going back to the inaugural beginning festival Playboy weekend in 1979, “Things Ain’t What They Used to Be.” No one can argue about the authenticity of jazz concerts and artists tback during the historic and idyllic period.hen.
The first Playboy Jazz Festival program included Benny Goodman, Chick Corea & Herbie Hancock, The Count Basie Big Band, Harold Land, Joe Farrell, Joe Williams, Joni Mitchell (with Hancock, Don Alias, Gene Perla, and Michael Brecker), Lionel Hampton, Sarah Vaughan and Weather Report. Then again, featuring folk/contemporary jazz Mitchell and fusion dynamos Weather Report also probably drew some harsh criticism back then.
Forty-seven years later, the landscape is vastly different with no professional swinging big bands or conventional combos featured for a “Boundless” or “Beyond” program.
Getting the Saturday and Sunday shows started were the youthful LA County High School for the Arts Big Band and Vocal Jazz Ensemble, and LAUSD Beyond the Bell All-City Jazz Big Band. They were abundantly promising, showcasing both engaging arrangements, creative original compositions and imaginative vocal stylings. Additionally, the 2026 class of the Herbie Hancock of Jazz Performance Ensemble at UCLA spotlighted potential jazz stars who shined with sophistication and artistry for new pieces “The Silence” and “La Vida.”
In terms of mainstream jazz, 26-year-old six-time Grammy-winner Samara Joy was phenomenal. Her first note sung from “Piece of Mind/Dreams Come True” quickly got the loud and infamously partying audience’s attention. Joy continued with a rapture of exquisite vocals for “Beware My Heart” and “I Got it Bad (And That Ain’t Good)” with tantalizing band support/soloing. Ending the unbelievable set was Jobim’s jubilant bossa classic “No More Blues (Chega de Saudade),” with loads of scatting and Dianne Reeves styled lyrical improvisation.
Gregory Porter, introduced by festival emcee Arsenio Hall as “the most powerful baritone in modern jazz,” followed Joy and totally captivated the crowd. The jazz star who grew up in Bakersfield wove an endearing tapestry of stirring originals that interwove heartfelt messages and soulful vocals accentuated with fiery accompaniment from his quintet. Included in Porter’s high-octane jazz-poetry set were “If Love Is Overrated,” “Take Me to the Alley” and “Musical Genocide” with an insertion of his exceptionally popular jam-like cover of the Temptation’s “Papa Was a Rolling Stone.”
Flautist/vocalist Elena Pinderhughes, who’s played with Hancock, Common, Chief Adjuah, Robert Glasper and many others presented a nuanced and lightly textured set. With a fluid band that included her brother Samora on keyboards/backing vocals, she made her first appearance as a bandleader at the Hollywood Bowl. Pinderhughes showcased an appealing mix of soulful and jazzy tunes mostly from her upcoming album that overflowed with breezy playing and serene vocals. As a bonus, trumpeter Adjuah (aka Chris Scott) who hired the flautist/singer for her very first Bowl performance made a special guest appearance for the last selection.
Making their first appearance at the Hollywood Bowl was Kokoroko from London. They were led by trumpeter/composer Sheila Maurice-Grey, featuring an all-women brass/vocal section and hearty male rhythm players. The English band by way of Africa provided a buoyant mix of West African highlife, English styled jazz funk, international neo soul, and a few ballads that resembled East LA oldies.
Also from the other side of the pond was the high-energy acid jazz/neo soul drummer/producer Yussef Dayes, winner of numerous prestigious British awards, and a viral sensation. Blues guitarist sensation Christone “Kingfish” Ingram added more spice to the affair by jamming with the drummer’s band for a couple of tunes that were a zesty mix of jazz, soul and blues that impressed the audience.
Keyboardist/producer Robert Glasper’s R+R=NOW abounded with emerging super players, Terrace Martin-alto/saxophone/keyboards/vocorder, Adjuah-trumpet, Derrick Hodge-bass, Justin Tyson-drums and Taylor McFerrin-vocals/turntables. Glasper respectfully noted emcee Hall’s cultural significance, calling his pioneering late ‘80s/early ‘90s talk show, “extreme and Black on real TV.” The bandleader also jokingly berated his band members between McFerrin’s ambient instrumental “Song For Hope,” bolero-like “Respond” and Bitches Brew styled “Resting Warrior.” Each tune merged fusion, modern soul and hip-hop.
Undaunted by an early slot before sunset, Cimafunk (aka Erik Alejandro Iglesias Rodríguez) rocked the Bowl with La Tribu (The Tribe) his powerful nonet from Havana. The charismatic singer and dancer who previously was a medical student derived his stage named from Cimarrons—African Cubans who resisted slavery. With the powerful ensemble he has won over audiences at the New York’s Lincoln Center, jazz festivals worldwide, Coachella (first Cuban artist) and two other times at the Hollywood Bowl.
Closing out and headlining the festival on the first night was singer/rapper/guitarist and former Fugee bandmember Wyclef Jean. Along with his Haitian rooted pop and universal themed songs, he surprisingly had a few jazz-oriented things in his set. Some of them were dedicating the show to Quincy Jones his greatest mentor, singing a few bars of “Take The A Train,” and doing some scatting that drew good crowd response.
For the second night Patti LaBelle, the Godmother of Soul ended the two-day affair. Right off the top, she announced recently celebrating her 82nd birthday (May 24, 1944) to receive cheers and praise from the audience. Naturally, she had a long list of songs, spanning pop, jazz, gospel and R&B to perform with her backup singers and band.
The standouts that sent her fans home fulfilled were Burt Bacharach’s “On My Own,” the very upbeat “New Attitude” and her timeless 1974 classic “Lady Marmalade.” It was cowritten by Bob Crewe and Kenny Nolan and produced by the legendary Allen Toussaint. For more info and to get ready for the 2027 Blue Note Festival go to: https://www.bluenotejazz.com/festivals/ and https://www.laphil.com/
Curated by The Reverend Shawn Amos, singer Vivian Sessoms and a live band performed disco era music by legendary artists of the 1970’s at the BroadStage’s Blackbox Music Hall + Plaza. It’s unclear whether the Harlem-born singer Sessoms, raised by professional singing and musician parents, was ever a disco star. With a birth year of 1964 she’s probably too young to be part of a movement that thrived from 1970 to 1980.
Regardless of those facts, the talented singer, songwriter and producer, has backed up an impressive list of entertainers. They range from Chaka Khan, Rob Thomas, Donna Summer (after the disco era), Cher, Michael Jackson, Stevie Wonder, Pink, Joe Cocker, Christina Aguilera, Patti Austin and pianist-composer Ryuichi Sakamoto. With credits and experience of that magnitude Sessoms is very capable of doing anything that’s musical.
During the show, the final one of the venue’s 2025/2026 season, Sessoms got people young and old up, with a few decked out, dancing to a disco shakedown. Hits and classics such as Diana Ross’s 1976 “Love Hangover,” “Get Up and Boogie” by the Silver Convention 1976, Alicia Bridges’ “I Love The Nightlife (Disco Round)” 1978, Marvin Gaye’s “Got to Give it Up” 1977, and Cerrone’s “Supernature” 1977 provided a fun and memorable 90-minute return to 70’s dance music. For info go to: https://www.viviansessoms.com/ and https://broadstage.org/
Herb Alpert & The Tijuana Brass & Other Delights at the Hollywood Bowl was more than a concert, but in fact—a celebration of Alpert’s contributions to Los Angeles music and 60’s culture worldwide. 85-year-old, songwriter, singer and actor Paul Williams, who was still full of wry wit and energy, did the intro conspicuously wearing an ape mask.
He tearfully spoke about his longtime relationship with music mogul Alpert for 17 minutes and amazingly had the audiences’ full attention. Included were videos, pictures and him singing his hits recorded at Alpert’s legendary and extremely successful A&M Records. They were “The Rainbow Song” (popularized by The Muppets) and The Carpenter’s “We’ve Only Just Began,” and his brother Mentor’s “Drift Away” recorded by Dobie Gray in 1972, with the crowd singing along.
Afterwards, nine-time Grammy-winner, Humanitarian and extremely influential Alpert, whose band outsold the Beatles in 1966 took the concert goers on a memorable trip that featured a medley of his appealing songs from the ‘60s into present times. Of course, besides the music was his then provocative album cover for Whipped Cream & Other Delights and his dashing good looks pictured on other records.
Through it all the trumpeter took it all in stride with his infectious mix of jazz, pop, mariachi, and Latin elements for hits such as “The Lonely Bull,” “Spanish Flea,” “Ladyfingers,” and “Tijuana Taxi” that were all featured, sometimes with accompanying videos and stories that drew emphatic cheers with occasional standing ovations.
Also astounding were the songs Alpert covered by other artists, which tied in with his producing and record label managing skills. Among them were the breakout whimsical hit “Whipped Cream” rejected by trumpeter Al Hirt and written by Allen Toussaint, which also became the theme for the Dating Game TV show, showstopper “This Guy’s in Love With You” penned by Burt Bacharach and Hal David featuring the trumpeter’s melancholy singing with everyone attending joining in.
Additionally, in the list of covers were the wacky ‘60s Casino Royale Theme by Bacharach, “Zorba’s Dance” including clips of Anthony Quinn’s famous dancing from the 1965 classic film Zorba The Greek, a jazzy version of the Clover’s “Love Potion No. 9,” Bobby Scott’s timeless “A Taste of Honey” and Charlie Chaplin’s always endearing “Smile.”
Bringing the music into present times was Alpert’s contemporary jazz hit “Rise” that flourished with he and his band jamming away. Not bad for a 91year old, whose last appearance at the Bowl was in 1968. He said the concert was a “dream come true.” For more info go to: herbalpert.com and www.laphil.com.
The Skirball Cultural Center kicked off its 29th season of the free summertime live music series Sunset Concerts with Cory Henry and The Funk Apostles and Katayst. Keyboardist/singer Henry, a Grammy-winner and Best Roots Gospel Album winner in 2025 was previously a member of the youthful fusion/world band Snarky Puppy until going solo in 2018.
As the headliner at the Skirball he set up a pulsating funk foundation with his ensemble and played covers of the Bee Gees “Staying Alive,” Prince’s hard funk/rocking social/political “America” and Earth, Wind & Fire’s wailing “Serpentine Fire.” After the smoking dance inciting segment, the Los Angeles-based artist wound down slightly to showcase his own rocking/grooving “Something New” and romantic soul/pop song “Let’s Go Fall in Love.”
Opening the Skirball open air concert was Inglewood’s Katalyst, consisting of drummer/composer/producer/founder Greg Paul, pianist Brandon Cordoba, saxophonist David Otis, Grammy-winning trombonist Jonah Levine, keyboardist Brian Hargrove, percussionist Ahmad Dubose, acoustic bassist Corbin Jones and electric bassist Marlon Spears.
They were vastly different from Henry’s band and were primarily instrumental with longer and all original compositions. The audience found the music to be both soothing and stimulating, intermixing fusion, neo-bop, world, Afro-Cuban and funk. Selections highlighting the set were from their debut record Nine Lives and latest Speakeasy. For more info go to: coryhenry.com, www.katalystcollective.com and skirball.org.
No matter the musical taste, age or country, nearly everyone has heard of the long-reigning multi-Grammy-winning and Rock And Roll Hall of Fame, Motown soulful singer/songwriters, Smokey Robinson and Gladys Knight. The Architect of the Motown Sound Robinson and Knight the Empress of Soul recently headlined their Just The Two of Us tour that landed at the Hollywood Bowl for a couple of performances. Fans of the soul music monarchs together and individually were ecstatic and ready to go down memory lane with them, even though they both have new music out as well.
Knight, who has remained connected to gospel music from the beginning of her career, got the party started without her famous Pips. She officially parted company with them in 1989. Though her brother Merald “Bubba” one of the original backup singers, has been known to make comical and disruptive guest appearances. Instead, the member of music royalty was supported by a powerful band and adept backup singers. The troupe briskly reeled off about a dozen and a half of the raspy sounding singer and her Pips’ catalogue, beginning with the funk scorching “Taste of Bitter Love” (1976). Going back to 1969 was funky “The Nitty Gritty” intermixed with one-time label mate The Jackson Five’s 1978 “Shake Your Body Down to the Ground.”
Throughout the living legend’s set the selected songs transversed eras and moods. Johnny Otis’ doo-wop styled “Every Beat of My Heart” was a perfect example and went back to 1961 during the Pip’s early years. While chart-topping “Love Overboard” that ruled the airwaves in 1987, 1973 “I’ve Got to Use My Imagination” and 1983 “Save the Overtime (For Me)” bubbled with classic R&B grooving that resonated with the attendees. Equally enjoyable and exhibiting the softer side of Knight’s music were earthy ballads “Best Thing That Ever Happened to Me,” “Neither One of Us (Wants to Be the First to Say Goodbye)” and “If I Were Your Woman.” They filled the Bowl with old memories (good and bad) and even some tears.
From a more upbeat perspective was the very well-known “Midnight Train to Georgia,” and “I Heard It Through the Grapevine.” It’s truly a Motown hit, initially recorded by Robinson’s Miracles in 1966, then Knight and the Pips 1967, and Marvin Gaye in 1968 to become an immortal hit.
Robinson followed Knight with a half hour longer show that was more personal and sensual, much to the women in the audience’s delight and included videos. The silky-smooth singer, very productive songwriter, and talented music executive didn’t sing in church. But is very religious and credits God for his profound abilities and success. His half of the Bowl show was somewhat of an affirmation of his relationship with God, meshed with signature love-oriented hits.
Being very comfortable as a highly desirable love/sex symbol Robinson laid it on thick for super smooth hits “Being With You,” “I Second That Emotion,” “You’ve Really Got a Hold on Me” and “Quiet Storm.” For added thrills the songs were embellished with the headliner flirting and doing heavy petting with his attractive female backup singers. The audience, ranging from teenagers to the singer’s age (86) loved it all. Robinson kept things entertaining and varied by going into soulful classics he penned for the Temptations, such as “The Way You Do the Things You Do,” “Get Ready” and “My Girl.” For good measure the singer/songwriter’s recent “Gasms” and timeless 1965 “Ooo Baby Baby” were included.
Of course, not all of Robinson’s songs are about ecstasy and feeling great about being in love. His trademark falsetto also tenderly emoted the alternative side of romance through the unforgettable ballads “The Tears of a Clown,” “Just to See Her” and “The Tracks of My Tears,” which swooned everyone.
Returning to the singer/songwriter remarkable positivity was the jazzy cool vibing 1979 “Cruisin’.” It seemed like it was recently written, judging by the crowd’s reaction. Robinson had fun with it by selecting two women from the audience to lead divided audience groups and have their choruses compete. Wrapping up the enjoyable and memorable evening was the gangsta-flavored 1974 classic “Be Thankful for What You Got” by William DeVaughn. For more info go to: gladysknight.com, smokeyrobinson.com and www.laphil.com.
According to AI, “Music from New Orleans and Oakland shares deep cultural roots, rhythmic funk influences, and traditions of social resistance and community celebration.” At the Hollywood Bowl, New Orleans famed traditional jazz band The Preservation Hall Jazz Band and Oakland’s brass/funk masters Tower of Power were on the same bill for a unique concert. Probably the groups’ most obvious characteristic was their lengthy lifespans. Preservation Hall started in 1963, and TOP began five years later. From there the similarities were not as apparent and required deeper probing. Nonetheless, both were well-loved and received by the audience, and the bands showcased very different attributes.
The New Orleans band led by bassist/tuba player Ben Jaffe was a sextet, primarily acoustic that were traditional jazz, R&B and gospel oriented. The over 120-year-old New Orleans standard “Oh, Didn’t He Ramble” roared out of the gate with rowdy playing and carefree singing. The musicians formally announced their arrival with “Band Is in Town,” boosted by each player thrilling the crowd with pleasing solos and playful antics. The fun continued with the archetypal hit “Tootie Ma Is a Big Fine Thing,” lavished with dynamic solos by saxophonist Clint Maedgen and pianist Kyle Roussel.
Even more amusing was the 1955 New Orleans R&B hit “Rich Woman,” graced by Roussel’s professor-like soloing and stridently sung by trumpeter Branden Lewis. His grandfather saxophonist James Victor Lewis was on the original recording with Li’l Millet and his Creoles. In terms of jazz, the players played a rousing rag showcasing all the bandmembers and transported the audience to the clubs in New Orleans during the roaring ‘20s.
Alternatively, renowned gospel song “As I Travel” was touchingly sung by Lewis, who also injected his remarkable playing into the chorus. Ending the action-packed set were the call-to-action chanting and band wailing “Keep Your Head Up,” and the immortal “When The Saints Go Marching In.” It had all the audience up and dancing, while the sextet jammed away and chanted with them.
Headlining ten-person, Tower of Power were more staged with a musically choregraphed and well scripted set that sometimes resulted in songs becoming medleys. The muscular brass and funk band reeled off some of their popular tunes such as “I Like Your Style,” “Soul With a Capital “S,” “You Ought to Be Havin’ Fun” and “Soul Vaccination” almost nonstop. Afterwards, they turned philosophical and reflective with “Don’t Change Horses (in the Middle of a Stream)” energetically and soulfully fueled by lead singer and soloing guitarist Jordan John.
For a respite, “Below Us, All the City Lights” a silky ballad from their 1974 record Back to Oakland was showcased. They haven’t played it in concert over the years and just recently inserted easy flowing song into their setlist. Not to be forgotten were the super emotional ballads “You’re Still a Young Man,” and “So Very Hard to Go” featuring John laying it on strong as the crowd sang along.
Returning to funk grooving was “To Say the Least, You’re the Most,” highlighted by keyboardist Mike Jerel smoking on vocals and working out on organ. Cofounding member/tenor saxophonist Emilio Castillo called the audience to stand while singing the anthem-like “(Still) Diggin’ on James Brown.” John followed with a medley of Brown’s influential tunes from the ‘60s laden with the band’s signature brass choruses, and the bandleader returned for the opening tune’s first section. Wrapping up the fast-paced set the band asked the eternal question “What Is Hip?” It blasted with hard-hitting brass forays, scorching guitar and funky rhythms that were continued with the affirming “Soul Power.” For more info go to: preservationhalljazzband.com, towerofpower.com and laphil.com.
If one artist could be considered the principal influencer or trailblazer of the indie folk/rock movement of the 90’s—it would have to be Ani DeFranco. She is a totally self-made singer/songwriter/guitarist/producer, record label owner of Righteous Babe Records, an activist and an icon. DeFranco, who will be performing soon with fellow singer/songwriter Valarie June at the Ford Amphitheatre was born in Buffalo to a Canadian mother and Italian father and never planned on being all those things. However, she did possess raw talent, power songwriting skills, a never say die or rather “don’t tell me I can’t” attitude, keen social/political awareness and a devout anti-corporation mindset.
Mainly, through DIY, she proved to the heterosexual/male dominated record industry another pathway to success, especially on your own terms existed. At the same time. she became an outspoken voice for women and young people coming to terms with their personal identity and sexuality, while also encountering social issues, parental pressure, racism, with little political representation or power. DeFranco’s music covered and still does all those topics, including autobiographical ones and the plight of the world.
As a solo artist in New York City during the early 1990’s she responded to audiences’ requests for her music by selling self-made audio cassette tapes. When the demand became overwhelming, she pressed 500 copies and they quickly sold out. That resulted in DeFranco forming her record label for distribution and recording her first album Not So Soft.
Word of her talent spread around the country, mostly through women college students, and grassroots feminist organizations. The singer/songwriter started touring solo relentlessly in her VW. Not too long after she started, drummer Andy Stochansky accompanied her, and then also bassist Sara Lee, and later a full band, sometimes even with horns.
After several other record releases and acclaim, including charting on Billboard, the major record companies started becoming interested and made offers to sign the hard-strumming, shaved-head, tattoo wrought and multi-pierced DeFranco. She defiantly refused them all and even wrote songs about it.
In 1999 Righteous Babe started releasing projects for other artists including Lee, Utah Phillips, Andrew Bird, Anaïs Mitchell and Nona Hendryx. Five years later the singer/songwriting businesswoman won a Grammy for Evolve (Best Recording Package) and three Grammy Nominations for her subsequent records.
The original “indie girl” who during her mid teen years was cheered on by folk mavericks Michelle Shocked and Suzanne Vega, has become well respected throughout the folk and general music community. Although known mostly for being a folk/punk musician, DeFranco sees no boundaries in music. In that regard, she has collaborated with Prince, Public Enemy’s Chuck D, Rob Wasserman, Kris Kristoperson, Dar Williams, Margaret Cho, Cyndi Lauper, Maceo Parker, Jackie Chan and many others.
Additionally, in 1995 DeFranco help inaugurated the Woody Guthrie Archives in New York through a concert at the Rock and Roll Hall of Fame in Cleveland. It eventually became an album on her label and was titled, Til We Outnumber Em. Among the featured artists, besides herself, were Billy Bragg, Ramblin’ Jack Elliott, Arlo Guthrie, Indigo Girls, Dave Pirner, Tim Robbins, and Bruce Springsteen.
100 percent of proceeds went to the Guthrie Foundation and Archives, and the Rock and Roll Hall of Fame Museum’s educational department. DeFranco additionally was a regular at the legendary folk luminary Pete Seeger’s Hudson Clearwater Festival and appeared during his 90th Birthday Celebration in 2009 at the Madison Square Garden.
In 2008, the prolific singer/songwriter/producer moved to New Orleans, a year after having her first child, a girl. As would be expected DeFranco got heavily involved in the Hurricane Katrina recovery efforts, the region’s politics, and its celebrated music scene. Five years later, she gave birth to a son, and presently continues to make music she believes in, totaling 23 albums and with musicians she respects.
In recent years, the icon released Unprecedented Sh!t (2024) and celebrated the 30th anniversary of her breakthrough album Not A Pretty Girl (2025). DiFranco is also an author with her memoir No Walls and the Recurring Dream, a New York Times Top 10 best seller in 2019, and her newest book The Spirit of Ani published this year.
Additionally, the musician created two children’s books, The Knowing and Show Up and Vote. Furthermore, DiFranco completed a 5-month run on Broadway as Persephone in Hadestown in 2024. She notably released on Righteous Babe Records, playwright Mitchell’s album of the same name in 2010.
Ani DeFranco
Valerie June
August 12, 2026
The Ford
2580 Cahuenga Blvd. East
Los Angeles, CA 90068
323 850-2000
https://www.laphil.com
Ellington’s connection to Harlem is integral and musically celebrated in many of his works. Harlem composed for a performance with Arturo Toscanini and the NBC Symphony didn’t work out but appeared on several of the composer’s albums and was also rearranged by him as well. The Los Angeles Philharmonic conducted by Thomas Wilkins performed Ellington’s homage in a special program entitled Wilkins Conduct Bernstein & Ellington that was orchestrated by Luther Henderson and Maurice Peress at the Hollywood Bowl.
The work depicts the hustle and bustle of Harlem with swinging rhythms and aggressive brass forays that exemplify a bold and proud heritage that cannot be deterred. On the other hand, the grace and beauty of the neighborhood is elegantly portrayed through graceful woodwinds and lightly muted trumpets. At night the area is a soulful beacon that brings people from other parts to carouse and mingle under dim lights with enticing beauties and infectious, nearly exotic swinging and percussion. Ellington, a gifted musical conveyor amazingly captured the contrasting, sometimes conflicting pull of art and survival in the composition.
The Berstein portion of the program was longer and embodied the joyful elements of the celebrated composer/conductor’s On The Town and Time Square. They were easily recognized and joyfully applauded by the audience. From a more serious standpoint were opening pieces Fanfare For Uncommon Times by Valerie Coleman, Mother And Child by William Grant Still and Shaina Taub’s Suff’s Song Cycle.
Taub’s cycle was beautifully adorned by singing from Gracie Lawrence, Alex Newell and Ali Stroker. Wilkins commented that the piece conveyed the courage of women powerfully championing for Suffrage over 100 years ago. For more info go to: www.kennedy-center.org, leonardbernstein.com and www.laphil.com/
Much like his mentor, band leader and collaborator Herbie Hancock, Grammy-nominated keyboardist/alto saxophonist/rapper/producer Terrace Martin started his show Plays Miles for one of the Skirball Center’s Sunset Concerts with a multi-layered soundscape of spacy moods and effects. His boss’s increasingly popular “Butterfly” was the main theme and evolved into Miles Davis/Marcus Miller’s slow-burning funk classic “Tutu.” However, when the multi-instrumentalist bandleader who’s worked with Snoop Dogg, Lalah Hathaway, Kendrick Lamar and many other contemporary/pop stars noticed the audience’s low energy level—he abruptly stopped playing—and called them out.
That was just a ploy, but it worked and reaped animated responses from the crowd as the band resumed playing and jamming for about another 20 minutes. From there Martin’s concert was more nuanced and barely related to Davis but had of his spirit. Incorporated into the set were snippets of classical, mainstream through Monk’s “Around Midnight” and modern soul grooves featuring his backing keyboardist singing tranquilly. Among the tunes was the futurist sounding “Reflection.”
Harpist Brandee Younger, also a Grammy Nominee was the first performer and showcased an enticing mix of her main influences—Alice Coltrane and Dorothy Ashby, along with her own music. Younger alternated between playing solely and in a trio setting with bassist Rashaan Carter and drummer Allan Mednard. In honor of Coltrane, she beautifully played “Turiya and Ramakrishna” from the impactful harpist’s first recording as a band leader Ptah, The El Daoud. Regarding the living harpist own music, gently cascading “End Means” and heavenly “Unswept Corners” from her latest release Gadabout Season were showcased. For more info go to: Instagram, brandeeyounger.com and www.skirball.org.
Reggae and world music icon Bob Marley died 45 years ago, however most significantly, his music and legacy promoting love, unity and social consciousness powerfully live on through loyal fans, old and new, and some of his surviving progeny. The best-known of the brood is the legend’s oldest son Ziggy, who performed at the Hollywood Bowl, sponsored by KCRW 89.9, with a large entourage. It included brass players, backup singers plus his daughter, Zuri, also a DJ. She warmed up the audience prior to her dad’s concert and during the band’s mid-show break.
Like a true Rastafarian, much like his father, Ziggy started the reggae show with “Jah We Give Glory,” honoring the god he believes is the divine source of life, truth, and power. From there the Bowl was transformed into a rebellious “island party” Jamaican-style, with Marley showcasing his own music with sprinkles of father’s hits. “Rebellion Rises” called for everyone to rise above hate and violence. As a bonus, soul/rocking singer Nikki Costa joined the bandleader for “Hey People Now.” It’s a new socially conscious song they recorded together on his newly released Brightside album.
Ziggy continued in the vein of social/political awareness with his own “Justice” and his father’s “War” and best-known “Get Up, Stand Up (For Your Rights).” As would be expected, it predictably fired up the audience who danced and sang along. “Racism Is A Killa” from the new album was also included as the singer/bandleader echoed the title and the band hotly grooved along.
Moving on from the protest-oriented songs were lightly shuffling “Circle of Peace” and “Beach in Hawaii,” which the concertgoers strongly reacted to. Bob Marley’s “Jamming” revived everyone’s party spirit as the band stretched out for the final section of the set. That vibe continued with other uplifting tunes, such as “High on Life” and “Love Is My Religion” by Ziggy. His father’s “Is This Love,” and “Could You Be Loved” for the standing ovation encore were over the top with the crowd emphatically loving it all. Unquestionably, the Marleys’ music is a living and giving organic force.
81year-old, semi-retired Grammy-winning Burning Spear, a contemporary of Bob Marley and an OG reggae master opened the mini fest. He rendered laid-back jams with additional touches of ska, calypso and dancehall. Among his standouts were “Happy Day,” dub-like instrumental “Columbus,” “guitar scorching “Tumble Down,” “The Sun,” and “Old Marcus Garvey” probably his best-known song. For more info go to: https://www.ziggymarley.com, https://www.bobmarley.com/ and https://www.laphil.com/
Kalia Vandever is a Brooklyn-based trombonist and vocalist, who was born in Durham, North Carolina and grew up in Southern California before attending Julliard. After attending the prestigious music school, she went to Boliva to work with a youth orchestra. Back in Brooklyn she taught privately at its Conservatory of Music and cultivated relationships with a variety of top-notch jazz musicians and engaging pop artists, who became Grammy-winners. Lizzo, Harry Styles, Japanese Breakfast, Jennifer Hudson, and Demi Lovato were among them.
Vandever also collaborated with members of New York’s cutting-edge jazz scene that included Joel Ross, Immanuel Wilkins, Fay Victor, Ingrid Jensen, Mary Halvorson, Tyshawn Sorey, Fabian Almazan, Wynton Marsalis and the Lincoln Center Jazz Orchestra and Maria Grand. With some of them the trombonist/singer recorded her debut album, In Bloom and second release, Regrowth. Switching things up, her third juncture, We Fell In Turn, featuring only her trombone, voice and an electronic backdrop. It was critically acclaimed and drew more attention to her Vandever’s music.
Mana, the latest project showcased her compositions and had sonic similarities yet focuses more on emotions and deeper sung lyrics. At 2220 Arts & Archives the bassist/vocalist premiered selections from her latest recording. They were regal, sensitive, ephemeral, and sonorous, a word often used to describe her music. “Hubbard Road” and “Waiting” were both somber trombone/electronic pieces.
While the latter track emphasized the beauty of the sliding horn with Vandever’s sensitive vocals. Alternately “Tough Play” a shorter piece began with sparse piano and flowed with lyrical singing and yearning trombone. Not on the new record and included on the setlist was a resounding thematic number that was classical-like and lightly rhythmic.
Opening the show was megiapa, a linguist, producer, visual artist, and vocalist who produces multi-layered, surrealistic excursions. They were soulful, sensual and sometimes mind expanding with a backing guitarist. For more info go to: https://www.kaliavandever.com/, https://www.clashmusic.com/news/megiapa-announces-new-album-intentions/ and https://www.2220arts.org/
Guitarist Anthony Wilson or pianist Billy Childs singly performing always generates a buzz at So Cal jazz venues, as well as almost anywhere else around the world. The two of them together with bassist David Piltch and drummer Jay Bellerose, thoroughly excited the anticipating audience who came to Creative Music at Motivo, curated by saxophonist Daniel Rotem. Most thought that concert had the potential to be a full-bore jam filled with unbelievable performances, which they’re very capable of.
At the show’s beginning, the audience learned that the show was instead a showcase for Wilson’s newly crafted tunes, encompassing a range of styles and genres. That wasn’t a bad thing, and with the lightly percolating, cool grooving “Jack of Hearts” everyone in the room quickly relaxed and welcomed the music. Afterwards, the bandleader acknowledged that it was Juneteenth and thanked everyone for attending.
He additionally mentioned that the bandmembers were saddened by esteemed South African pianist and composer Abdullah Ibrahim’s passing days earlier. In his honor they played Wilson’s piece “Abdul’s Song” that flourished over a pulsing South African mid-tempo rhythmic foundation. It also was bolstered by superb interplay and inspired solos from Childs and Wilson. For a change of pace, the quartet beautifully served up Monk’s ballad “Ruby My Dear,” that was more familiar to the audience. It opened with Childs playing a superlative solo intro and the other players gently easing in for tantalizing and lightly swinging musical repartee.
Following the crowd-pleasing piece, Wilson’s quartet spotlighted his eclectic songs that were an engaging mix of easy flowing jazz, blues, country and folk. They included him casually singing for a suite of sorts written during the Pandemic that finished with the poetic “The Battle is Already Won.”
Also, along those lines was the bluesy/gospel jam-like song “Knowledge Tree,” laden with the guitarist’s soft singing and inspired by one of his trips to Shelby, Mississippi. Concluding the remarkable evening was the post-bop instrumental “Song From a Dream,” featuring Wilson and bandmates incredibly soloing and stretching out. For more info go to: https://www.anthonywilsonmusic.com/, https://billychilds.com/ and https://elmotivola.com/creative-music
Guitarist Will Brahm has a sound that falls between the fluid lyicism of Pat Metheny and the jagged ripping of Allan Holdsworth, and is originally from Portland, Oregon. He’s been in LA for almost 20 years and graduated from the Cole Conservatory of Music at CSU Long Beach as a 5-time K-jazz scholar; professionally he has worked with his own group “Homenaje,” along with the New West Guitar Group, The Gordon Goodwin Phat Band, Kim Richmond, Jimmy Branly, Otmaro Ruiz, Gretchen Parlato, Sara Gazarek, and Jane Monheit.
At Birds of a Feather, Braham led a trio that included drummer Rick Montalbano and bassist Aubrey Situmorang. They began with mid-tempo funk elements for a breezy groove and afterwards shifted to a light rocking styled tune, highlighted by the bandleader’s flurries, with bass also soloing. Metheny’s “Better Days Ahead” was gentle like the composer’s popular style and included lightly edgy tinges leaning more to Holdsworth, all coolly accentuated by Brahm’s bandmates.
The guitarist also delivered an up-beat straight-ahead original “Slide” that had elements of Pat Martino, with Situmorang out front soloing for a short segment and Montalbano bombing away the whole time to delight the audience. Additionally, the bassist did a sumptuous solo intro for Braham’s expansive mid-tempo number “Late Lights” filled with Holdsworth-like scorching guitar soloing. Rounding things out was the bandleaders recently released ballad “Amends” that has a slight resemblance to Bonnie Raitt’s 1991 hit “I Can’t Make You Love Me.” For more info go to: willbrahm.com and www.birdsofafeatherjazzlounge.com.
A Life in Jazz, was a special concert at The Odyssey Theatre highlighting mid-20th century jazz masters interwoven with the Poet Laureate of the Harlem Renaissance, Langston Hughes’ renowned verses. Conceived by Music Director/Curator/bassist/actor Jack Snow, the ambitious program was propelled by his powerful spirit and energy. Co-conspirators for effort were Tiera Church-vocals, Leo Folsom-piano, Noam Makover-trumpet, Princeton Parker-vocals, Greg Webster-drums and Patrick Sargent-reeds.
They began the show with a stimulating and diverse mixture of Ellington’s majestic piano composition “Single Petal of a Rose” from his 1959 Queen’s Suite recorded solely for Queen Elizabeth II and released to the public 17 years later. From there the music shifted to hard-bop through Cannonball Adderley’s powerful hard-bop tune “Sticks.” The legendary bandleader and his seminal work with the equally influential vocalist Nancy Wilson continued things. The section included “The Masquerade is Over” seductively sung by Church with mostly just piano, and with full band the defiant “Never Will I Marry,” heightened with a peppy sax solo from Sargent.
Snow who struggled to perfect his craft of playing music and acting in his younger years credited all the actors and musicians who educated him in New York. He additionally cited Patrice Rushen, Grammy-winning keyboardist/singer and former Chair of the Popular Music Program at USC as his mentor, along with saxophone icon Sonny Rollins’ impact on him because of unwavering dedication to practicing.
Rushen joined the band onstage for a moving rendition of Billie Holiday’s immortal “God Bless The Child” featuring Parker singing and closing out the song by doing lively call and response with the saxophonist. The concert also paid homage to Coltrane through a rendering of his ever-popular interpretation of “My Favorite Things.” Eubie Blake, who was one of the first Africa-Americans to write and direct a Broadway musical was honored by the band performing “Memories of You.”
Interestingly, the concert ended in a somewhat provocative mode by performing Nina Simone’s “I Wish I Knew How It Would Feel to be Free” featuring both vocalists singing wishfully together. In closing, Snow who also does music programming at the Virgil in Santa Monica urged the audience to checkout more jazz records and remarked. “Jazz is sacred—there is always more to know and learn.” For more info go to: odysseytheatre.com.
John Beasley’s UNLIMITED MILES, a celebration of Miles Davis’s centennial that spanned many eras of his monumental career was presented by the LA Phil, and the Leimert Park Jazz Festival. The grass-roots organization host a monthly soiree promoting rising star jazz artists and transported its uplifting consciousness and energy to the Ford Theatre. There, renowned keyboardist/composer/arranger and former Davis bandmember, Beasley lead a stellar group then on tour. It included Sean Jones-trumpet, Marcus Strickland-saxophone, Ben Williams-bass and John Davis-drums.
They got things underway with high-flying interpretations of Davis’s well-known classics “Seven Steps to Heaven” and “Someday My Prince Will Come,” which overflowed with top-level musicianship and solos. Afterwards, the bandleader emphasized that Davis both changed the way musicians from all genres play and the way people listen to music but didn’t cite any examples. He did, however, take the audience on a bit of a time travel journey—musically speaking. First was the late 40’s cool jazz era “Moon Dream.” Then seemingly from another planet was Wayne Shorter’s “Sanctuary” from the iconoclastic Bitches Brew album recorded in 1969 that roared with intense, fused sax and trumpet forays.
Whereas “Catémbe” from the 1989 Amandla album produced and mostly arranged by bassist Marcus Miller was essentially contemporary jazz with a fluxing of world and funk elements topped with Davis inimitable trumpet playing. That was impressively replicated by Jones. Afterwards, Beasley recalled being recruited by Davis in 1989 for a tour. Being around him, the keyboardist was impressed by the legend’s dedication, energy and creativity. The group closed with a lengthy and highly improvised version of Shorter’s modern classic “Pinocchio” recorded in 1967 on the Nefertiti album. It was remarkably introed by Williams and garnered with scorching solos from Strickland and Jones that blew the audience away, who gave them a zealous standing ovation.
Keeping the spirit going was the Leimert Park Jazz Festival Emerging Artists Collective, emceed by the fast-emerging, audacious trumpeter Tatiana Tate. Among the young players she orchestrated were Kenneth Brown II-trumpet, Nicole McCabe-alto saxophone, Chris Powe-alto saxophone, Josh Childs-piano, Veritus Miller-piano, Weldon Scott-acoustic bass, Aubrey Situmorang-electric bass, Jordan Proffer-drums, Dee Simone-drums, Kevin Hernandez-guitar, Hannah Norman-vocals and Josh White-trombone.
They filled the stage and exhibited their skills through Davis’s immortal hard-bop tune “So What.” The vibe continued with a mash of his modal “Nardis,” Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near)” and Warren G. Further enhancing the affair was Norman’s sophisticated singing and the ensemble’s rendering of “Four,” first recorded by the iconic trumpeter in 1954. During the closing moments of the lively set the players were joined by Beasley’s quintet for a joyful jam of “All Blues” to thoroughly delight the crowd.
Diane Robertson, Founder and Chair of the Leimert Park Jazz Festival, who pitched the concert to the LA Phil, did the introduction. She described the development of the festival and cited the mantra her organization. It progressively mentors jazz, the next generation of jazz players and cultivates community. For more info go to: milesdavis.com, leimertparkjazzfestival.org and laphil.com.
Incredibly gifted Italian-born alto singer Roberta Gambarini, and the prolific pianist/arranger and band member of the Clayton Hamilton Jazz Orchestra, Tamir Hendelman, first started working together in 2006. It was for the singer’s American debut and Grammy-nominated record Easy to Love. Since then, the pair collaborated on her 2009 So in Love album and have toured throughout the world many times. Gambarini and Hendelman, recently appeared, unheralded at several Southern California venues during July.
One of them was Campus JAX in Costa Mesa to a near-capacity house. Gambarini fondly remembered the club’s predecessor Steamers before powerfully singing without accompaniment “Where is Love?” That certainly got the club-goers’ attention and with Hendleman she made a sharp transition to Rahsaan Roland Kirk’s hip, swinging, scat-filled and piano-swirling “Theme for The Eulipions.” They are artists, musicians and poets who dedicate their lives to spreading and sharing joy, love and music.
From a more conventional standpoint, the duo soared for “That Old Black Magic,” overflowing with sizzling scatting/singing and euphoric piano playing, Jobim’s celebratory “Chega de Saudade (No More Blues)” sung and scatted in Portuguese, and the beautifully sung “Skylark” that drew affirming applause. Even more romantic and crowd pleasing was “You Taught My Heart to Sing,” while Ellington/Strayhorn’s legendary “Lush Life” with sparse piano conveyed through Gambarini’s highly emotive singing that expressed the deep nadirs of blues and sorrow.
Returning to optimism was the super high-flying performance of “Lover Come Back” packed with rollicking piano playing and robust singing/scatting that excited the crowd. For the closing moments Gambarini and Hendleman wound things down the tender ballad “A Time For Love,” playful scatting romp “Squeeze Me, But Please Don’t Tease Me,” Italian romantic classic “Estate” and Dizzy Gillespie’s outrageously “Oop Bop Sh’ Bam” loaded with Gambarini’s jivey scatting. For more info go to: www.robertagambarini.com, www.tamirhendelman.com, www.campusjax.com and Instagram.
Vocalist Kenny Washington, known as the San Francisco Bay Area’s secret, was well matched with the low key and abundantly talented, former Natalie Cole keyboardist, Grammy Nominated Josh Nelson. The pair worked together on the Washington’s 2020 album What’s The Hurry and many other times in different situations. But never as a duet until at Birds of a Feather. There the artists discovered it was the perfect setting, and the audience enjoyed every second of it. Additionally, the venue is intimate, relaxed and not intimidating—perfect for a shy singer and mellow pianist.
Washington and Nelson quickly got down to business with the ever optimistic “Blue Skies,” propelled by radiant singing and flourishing piano. They kept the gas to pedal with “Too Close For Comfort” and Nelson excelled with Oscar Peterson-like playing. The classic “Route 66” glimmered with soul-drenched singing and robust stride piano that Washing joked was like a “whole orchestra.” Somewhat similar and later in the show was “On The Sunny Side of The Street” that became even brighter when interpreted by the dynamic pair who inserted ragtime piano and sweet whistling into the standard.
Ballads by the artists were richly emotive but not overstated. Such as “Bewitched, Bothered and Bewildered” mostly sang solely by Washington with light piano, impeccably sung “Autumn Leaves” and Sting’s poignant “Fragile” which added more depth and color to the set. Streamlined “I Ain’t Got Nothing But The Blues” was treated like a R&B song as Nelson alternated between piano and synth for bits of call and response, and the singer ending in testimonial fashion. The keyboardist took a moment to reminisce about his time with Cole and how he could see her immortal father, Nat in her eyes. In her honor, “Somewhere Along The Way” written by Jimmy Van Heusen, under the alias Kurt Adams, with lyrics by Sammy Gallop was beautifully performed to totally captivate the audience.
Washington, a New Orleans native grew up singing gospel in church and playing saxophone at school. His interest in jazz was piqued when regional legend, saxophonist/educator Alvin Batiste (distantly related to Jon Baptiste), along with then teenagers Wynton and Branford Marsalis performed at his high school. Bitten by the jazz bug, the singer/saxophonist graduated from nearby Xavier College as a Music Major, voluntarily enlisted in the Navy and toured with its bands to many parts of the world for nine years.
Out of the military he settled in Northen California’s Bay Area and slowly developed a reputation for being a powerhouse singer (also in New York), who can incredibly enrich any situation. Hopefully, the rest of the world will soon be aware of that. For more info go to: kennywashingtonjazz.com, joshnelsonmusic.com and birdsofafeatherjazzlounge.com.
