Review by Devon Wendell
Photos by Bonnie Perkinson
Hollywood, CA. For the most part, it’s not just the music that has made The Annual Playboy Jazz Festival a Los Angeles summer tradition, but instead, it’s the music combined with the ev...
Review by Devon Wendell
Photos by Bonnie Perkinson
Hollywood, CA. For the most part, it’s not just the music that has made The Annual Playboy Jazz Festival a Los Angeles summer tradition, but instead, it’s the music combined with the ever present party atmosphere. And this year was no different. Amidst the clouds of pot smoke and spilled beer on the ground, The 35th Annual Playboy Jazz Festival featured an eclectic blend of artists in the genres of jazz, funk, pop, blues and more.
Before getting to my highlights of Sunday’s program, I thought I’d include just a few exciting additions from Saturday’s show to follow up on Mike Katz’s coverage.
Grace Kelly
From pop to bop, the amazing 21 year old saxophone titan Grace Kelly played a stellar set which included be-bop and pop influences, playing bop style instrumentals and catchy pop infused jazz vocal tunes. Kelly proved to be one of the most original and fascinating new faces in jazz. Her childlike vocals on “Nighttime Star,” fused with her vast knowledge of both bop and post-bop saxophone playing was astounding. When she plays alto sax, you can hear Bird, Art Pepper and Jackie Mclean, but with a new, youthful, feminine and energetic swing to it.
Kelly was joined by the legendary Phil Woods (also a major influence on her alto sax playing) for “Man With The Hat,” which the two had recorded together in 2011.
Woods was in strong form and Kelly played like a waterfall, with endless ideas and a superb technique. This was easily one of the finest moments of the festival.
Gregory Porter
Gregory Porter’s performance at the festival demonstrated why he has received so many accolades from all over the world. This time out, Porter focused more on his gospel and R&B influences than jazz during his brief set, which made it all the more interesting.
This was the case on Porter’s rendition of Cannonball Adderley’s “Work Song,” in which Porter opened the song with a few verses of Leadbelly’s “Alberta.” Porter’s controlled and carefully crafted phrasing along with his magnetic stage presence brought the Bowl crowd to church.
Sunday’s program had a lot more fire and electricity than Saturday’s.
It’s hard to imagine combining jazz and rock piano with a dance ensemble but acclaimed pianist Elew (joined by Jazzantiqua Dance Ensemble) did just that and made it work.
Elew and Jazzantiqua Dance Ensemble
Elew stood up while playing, looking like a mad scientist while he stared intensely at the audience. The Jazzantiqua Dance Ensemble did graceful, ballet interpretations of Elew’s readings of The Cranberries’ “Zombie” and The Killer’s “Mr. Brightside.”
Elew fused the stride piano styles of James P. Johnson with Horace Silver. Though asking a lot of the festival audience, this was a fascinating experiment both visually and sonically.
Chris and Dan Brubeck
One of the purest jazz acts of the festival was The Brubeck Brothers, lead by Dave Brubeck’s sons, Chris Brubeck on bass and trombone, and Dan Brubeck on drums.
The two were joined by Mike Demicco on guitar and Chuck Lamb on piano, making up a tight, focused, and dynamic quartet. The brothers paid a warm, heartfelt Father’s Day tribute to their legendary father, Dave Brubeck who passed away on December 5, 2012.
Their set included many Brubeck classics such as; “Kathy’s Waltz,” “Blue Rondo A La Turk,” and “Take Five.” The group performed these songs with elegance, dynamics, and devotion. Pianist Lamb’s use of well spaced block chords were reminiscent of the late Brubeck’s piano style and Chris’s fusion style electric bass locked in tight with Dan’s soft and melodic drumming. Demicco’s guitar solos were tasteful and served the compositions perfectly. Altogether, they produced a terrific performance – one that Dave Brubeck would surely have been proud of.
Taj Mahal
Very few artists know the history of American blues like Taj Mahal. At The festival, Mahal was joined by The Real Thing Tuba Band which consisted of four tuba players (Earl McIntyre, Howard J