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/
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
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
