© -Steven
Cerra , copyright protected; all rights reserved.
The four-day Groovin’
Hard: Celebrating the Big Band Renaissance event concluded it’s third
day yesterday, Saturday, October 11, 2012 under the auspices of the Los Angeles Jazz
Institute and its Director, Ken Poston.
Our apologies for
failing to note previously that the illustrations we have been using to populate these
features are drawn from the event brochure as designed by Kurt Reichenbach.
For more
information on the Los Angeles Jazz Institute including ticket ordering for Groovin’
Hard, please visit www.lajazzinstitute.org
© -Gordon
Sapsed . Used with the author’s permission; copyright
protected; all rights reserved.
"Saturday morning
at LAJI began with a clip of the Toshiko Akiyoshi-Lew Tabackin Big Band from
the 1970s (perhaps at Monterey
Ken Poston puts a
lot of work into these film shows and it's good to see audiences of 100 plus
supporting them at 9 am. After that band we saw BIll Watrous from the 1970's -
with that same hair style - although yesterday's live version might be grayer -
the movie was in black and white. Bill guested on that occasion in the movie
with somebody else's band (Tonight Show?). Then, with clothes and hair and time
signatures all screaming "1970's" we saw clips of Maynard Ferguson's
UK Band - with Peter King and Danny Moss, Woody's Band with Sal Nistico, Buddy
Rich playing Weather Report's "Birdland" (on a curious kit
which seemed to have silver cymbals). We also saw the Don Ellis Band, when Art
Pepper was with him - or said to be - the clip showed only dancers.
Next up was a panel
'Remembering Buddy Rich,’ which was a lot of fun. Bobby Shew, Chuck Findley and
Carl Saunders shared the lead and all improvised beautifully, with Richie Cole,
Ernie Watts, Charles Owens and Greg Smith all competing to see who had most-often
been fired by Buddy. Bobby won - as he does so often on panels.. Comments
included ' anything he could do on a snare drum he could also do on the bass
drum with one foot', 'He couldn't read a note, but play it through twice and he
could beat out every part for every instrument' … 'that anger gave him an
energy rush and was often for just that reason'. All recalled their stay on
that band as a great learning experience and often as a major highlight of all
their career, despite the occasional grief and pain.
Then to the
delight of fresh air and sunshine lovers - out to the Pool, where the very
first outdoor session involved the Saddleback College
Then back indoors
for that 70's sound of the biting alto sax of Tom Scott leading his 'California
Express'. Gilbert Castellanos on trumpet- who impresses more with every
hearing, was alongside him and I was delighted to see young drummer Dan Schelle
- who often leads all-youngster groups at the Lighthouse and Quinn Johnson at
the piano. This was their 'audition' with Tom Scott - who said they passed - after
two numbers! Trey Henry on bass needed no audition. The band played favourites
of Tom Scott and some of his originals ( you can do that when you're leader).
Titles included Victor Feldman's 'The Chant', LeGrand's 'His Eyes, Her Eyes',
Tom's Original 'Way Back When' and Billie Jo MacAlastair's sad tale ...
A great swinging set - showing that the 70's were not all odd time
signatures, or noisy, musically.
The next three
hours were 'Dream Time' for fans of, and former players with, The Don Ellis
Band.
We opened with an
hour of "Panel Discussion', when eight former members of the band gathered
and told their stories of the band - mostly in terms of what versions of the
band they played in. Unfortunately the sound system in that room - described earlier
by Carl Saunders as 'worse than most train stations' had a bad afternoon .
Despite eight microphones there was a problem at any given time in hearing the
person speaking until perhaps halfway through their comment. The sound person
was perhaps trying to guess who was speaking - or may not have actually been in
the room most of the time .....
Musically things
looked up as we assembled for the Don Ellis concert which, scheduled for an
hour -overran by close to thirty minutes. However, in that time the 21 piece
band wove their way through a dozen or so complex compositions bringing 5
trumpets, 4 reeds, two trombones, two violins, a viola, cello, horn, tuba, two
percussion , bass and drums together under two directors Ann Patterson and
Nick de Scala About half the players were Don Ellis Alumni and
others were session musicians from the LA area. The musicians included Ted
Nash, saxes and flute, Alan Kaplan and Rich Bullock trombones, Jimbo Ross, who Leonard Feather
described as perhaps the world's greatest jazz viola player, Alan Steinberger at the piano, with Brad Dutz
and Pete Korpela on percussion and Dave Crigger, and alumnus of several Don Ellis
bands, on drums.
The Don Ellis role
was played, very convincingly, throughout, by John Dave rsa.
The music included
charts from the Star Wars album, Monterey
It was said, in
the panel, that jazz fans either love or hate Don Ellis' music. It could
certainly not be faulted in terms of enthusiasm or even precision in playing on
this occasion - delighting the 'pro' lobby.
Some attendees at
the Festival stayed away (about 280 attended by my count) and one
jazz-west-coast alumnus said afterwards that he regretted not bringing his 'I
survived Don Ellis' tee-shirt. However it was a memorable occasion and demonstrated
yet again what LAJI exists for ....
The two evening
sessions had nearly full houses.
First up was a
band of Alumni from bands led by Louie Bellson titled "Louie Bellson
Explosion Revisited" .
Several of the
players had participated in the Panel discussion yesterday, with Director Bill
Yeager - a one-time trombonist who established the LA Jazz Workshop bands some
years ago and now is a music educator.
For this set he
had Jeff Hamilton in the Louie Bellson drum chair - but using his own kit and
playing, I thought, in his own Jeff Hamilton big band style - but what a style.
He had said yesterday that the role would have him 'sitting further forward and
a bit higher' and he certainly sounded on top form.
Soloists included
all the saxes Ted Nash, Andy Mackintosh , Rickey Woodard, Albert Alva and Bruce
Johnstone, trumpets Bobby Shew Jim Oatts and Don Rader. trombones Jack Redmond,
John Fedchock and Paul Young, pianist David Witham and Chuck Berghofer on bass.
Also on hand were Mike Wimberly playing bass trombone and trumpeter John
Thomas. Guitarist Grant Geissman unfortunately had to cancel at the last
minute.
Charts played
included originals by Louie Bellson (once described, apparently by Duke
Ellington as 'the finest musician ever to play in my band') and several charts
from Don Menza. Especially well-received solos came from Ted Nash, Rickey
Woodard, Don Rader, Bruce Johnstone and Jeff Hamilton the hero of the set.
"Drummers
Dream Night" continued when Peter Erskine, the only non-alumnus for the
"Buddy Rich Alumni" - and what a band . How's this for a trumpet
section : Bobby Shew , Chuck Findley, Carl Saunders and, to represent Buddy's
last band, Kevin Richardson. Trombones Alan Kaplan, John Fedchock ( from Buddy's New
York Band) and Mike Wimberly - who was in that ground-breaking 1966 band.
"A sax
section to die for" comprised Kim Richmond, Richie Cole, dueling tenors
Ernie Watts and Charles Owens, and, from the 1980's band - and the later leader
of the horns for the Eagles- Greg Smith. Rich Eames was at the piano and Dave Stone on bass. Peter Erskine's drumming
style was 'Peter Erskine Big Band' style and none-the-worse for that -
BRILLIANT ! He seemed to be reveling in the role and had the crowd applauding
and cheering loudly.
Up front Bobby
Shew had made his 'don't clap the solos' speech - 'you might miss something -
save it to the end'. I was reminded that Bobby, like many other musicians at
this Festival a frequent listener in the audience, was clapping solos
enthusiastically in other sets ! The audience couldn't always resist clapping
and cheering. I had Gene Cipriano sitting behind me cheering , clapping and
laughing .... (such as when Chuck Berghofer did his inevitable 'Boots' walk to
end a solo in the Louie Bellson set)
Bobby Shew, as
leader in the absence of Buddy Rich, did the introductions from his seat in the
trumpets and had put together a set list which included charts from Bill
Holman, Don Peistrup, Bill Potts, Don Menza and many others. All the favorites
were there as well as some I'll have to go home and dig out again. Bobby did
apologize for having left 'Love for Sale
Buddy Rich, had he
been there would, I'm sure, have fired the drummer - but only to get that seat
and be back among it. Otherwise it could go on tour today as the Peter Erskine
Band.
This may be seen
by some as 'nostalgia' - but what we heard was livin', breathin' , vigorous and
enthusiastic nostalgia, with fresh new solos!
- and one more day
to go -opening with the Tonight Show Band for brunch ...
(again a reminder
that these reports are being saved on Steve Cerra's blog, together with the
illustrations from Kurt Reichenbach's LAJI color brochure at http://www.jazzprofiles.blogspot.com/)
