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Los Angeles Jazz Scene
JAZZ AROUND TOWN - December 2009
HIROMI AND MCCOY TYNER
The First annual Asian-American Jazz Festival, a realization of the dream of producer-director Paul Im, was a big
success. Held at the Metropole and the Japanese American National Museum over a three-day period, it featured such
artists as singers Mon David, Celia La, Sharmila Guha and Kenton Chen, pianists Gary Fukushima, Victor Noriega,
Motoko Honda and Bryan Wong, saxophonists Ian Vo and Hitomi Oba, guitarist Goh Kurosawa, drummer Abe
Lagrimas and the group Prelude. On the final night. Charmiane Clamor was in excellent form, performing a well-
conceived set that included “Doodlin',” “I Must Have Done Something Good,” a very expressive “Since I Fell For You,”
a tongue-in-cheek “I Need A Little Sugar In My Bowl,” and some traditional romantic melodies from the Philippines.
The main performance was an unaccompanied set by the astounding pianist Hiromi. Not only is her technique on the
level of an Art Tatum, but her wit, use of dynamics, and constant creativity make her a jazz giant. Some may be put off
initially by her ability to play anything she thinks of at a remarkable speed (faster than Oscar Peterson!), but there is
plenty of variety throughout her music. She tore into “I Got Rhythm” with rapid striding, was romantic on “Cicily In Blue,”
played her interpretation of some classical music with ease, and introduced a three-part suite, Viva Vegas, comprised
of “Show Girl,” “Daytime Las Vegas” and “The Gambler.” On the latter section, she imitated slot machines; one could
easily tell when the slot machine paid a jackpot. Hopefully Hiromi will continue to play solo sets for this is the perfect
way to appreciate this dazzling pianist, who has to be seen to be believed.
Another great pianist performed in town recently. Before the audience could see McCoy Tyner at Royce Hall, one had
to sit through Build An Ark. Very much a community band that gave one the impression that anyone who wanted could
get on stage and perform (one person actually played the gong), Build An Ark had a few good musicians, guest spots
on one song apiece for violinist Michael White and trombonist Phil Ranelin, and some fine singing by Dwight Trible.
Otherwise, it felt like a family reunion where one did not know anyone. The other singers were mediocre at best, the
music was forgettable, and one had to check their calendar to make sure that it was not 1971.
McCoy Tyner and his quartet (with Gary Bartz on alto and soprano, bassist Gerald Cannon and drummer Eric Gravatt)
soon washed away memories of Build An Ark. Tyner at 70 was in brilliant and timeless form, performing “Flower And
The Wind,” “In A Mellotone,” a minor modal blues, “Moment's Notice” and other songs with his usual power, thunder
and personal ideas. While each of the musicians played at their best (Gravatt was worth watching closely through the
entire performance), the highpoint was when Tyner played a solo version of “I Should Care.” McCoy Tyner was a giant
in 1964, and he is still one 45 years later.
THE JAZZ ICONS SERIES
The fourth batch in the remarkable series of jazz DVDs put out by Jazz Icons consists of seven DVDs that are available
separately and an eighth bonus DVD that can only be obtained as part of the 8-DVD box. Dating from 1962-70, these
performances by American artists were originally aired on European television. Unlike in the U.S. where an Erroll
Garner or Jimmy Smith might be featured for five minutes on the Merv Griffin Show or the Tonight Show, in Europe
performers often were filmed for a half-hour straight or even a full hour, performing in concerts. This treasure trove of
films, which have mostly been sitting unseen since its original airing in the archives of European television stations,
have been obtained by David Peck, Phillip Galloway and Tom Gulottta of Reelin' In The Years Productions and
released in generally flawless shape for us to enjoy. The boxes are attractive, the musicians or their heirs have been
properly paid, and the results are consistently enjoyable and quite historic.
My favorite in the new batch is Woody Herman's Live In '64. Featured is one of Herman's greatest orchestras with
tenor-saxophonist Sal Nistico, trombonist Phil Wilson, pianist-arranger Nat Pierce, drummer Jake Hanna and lead
trumpeter Bill Chase being among the key players. Actually, as this consistently exciting performance shows, tenor-
saxophonist Joe Romano, trumpeters Paul Fontaine and Billy Hunt, trombonist Henry Southall, and bassist Chuck
Andrus (who never lets up during an incredibly fast version of “Caldonia”) were major players too. With such songs in
the book as “After You've Gone,” “Lonesome Old Town,” “Sister Sadie,” “Better Get It In Your Soul” and “Jazz Me
Blues” and so much spirit flowing out of this classic band, it is no surprise that Woody Herman looks like he could not
believe his good fortune.
One of the finest releases in this new batch is of a band that only recorded a couple of lesser-known albums. Art
Farmer Live In '64 teams the flugelhornist with guitarist Jim Hall, bassist Steve Swallow and drummer Pete La Roca.
The superior material, inventive arrangements and creative soloing makes these versions of “Bilbao Song,” “Valse
Hot,” “So In Love” and a surprisingly dark “Bags' Groove” quite memorable. Also among the highlights are features for
Farmer (“Darn That Dream”) and Hall (“I'm Getting Sentimental Over You”). The Farmer-Hall Quartet only lasted a
year but it deserves to be remembered as one of the last great Cool Jazz groups.
Coleman Hawkins' Live In '62 & 64 features the great tenor-saxophonist at two different concerts. The Belgium date
from 1962 has Hawkins performing in his late prime with a forceful rhythm section consisting of pianist Georges
Arvanitas, bassist Jimmy Woode and drummer Kansas Fields; “Disorder At The Border” and “All The Things You Are”
are highlights. The British session from 1964 actually has Hawkins sounding uneven, particularly during the first few
numbers, although he gets stronger as the session progresses. The solo star is often Harry “Sweets” Edison with
pianist Sir Charles Thompson (often sounding similar to Teddy Wilson) also in top form. Jimmy Woode and drummer
Jo Jones (the latter is showcased on “Caravan”) help keep the music swinging.
The king of the organ, Jimmy Smith defined a sound and style in the mid-1950s that is still dominant today. His Live In
'69 is a 90-minute two-part concert in which Smith is joined by guitarist Eddie McFadden (in excellent form) and
drummer Charlie Crosby. Smith, who plays several blues and ballads, is at his best on the uptempo material,
particularly “Sonnymoon For Two” and a lengthy “The Sermon.” His fans will definitely want this well photographed
performance.
Art Blakey's Live In '65 documents an Art Blakey band that only existed during a European tour and left behind no
records. Trumpeter Freddie Hubbard had left Blakey's Jazz Messengers the year before while bassist Reggie
Workman was still a member. Tenor-saxophonist Nathan Davis and pianist Jaki Byard otherwise never worked
regularly with Blakey. Actually this three-song set could just as well be under Hubbard's name for he contributed “The
Hub” and “Crisis” (which is over 24 minutes long) and is showcased on a brilliant exploration of “Blue Moon.” Davis
plays with a great deal of creativity and Byard takes an eclectic solo on “The Hub” but Hubbard is the hero throughout.
Erroll Garner's Live In '63 & '64 is a delight. Garner, who always sounded exuberant and inspired, is in top form on a
pair of half hour performances, romping on the medium-tempo pieces and pouring plenty of emotion into the ballads.
Bassist Eddie Calhoun and drummer Kelly Martin are fine in support but Garner, with his big smile and endless amount
of ideas, is the star.
Anita O'Day's Live In '63 & '70 features the singer at two very different periods in her life, yet her performances are
similar. Joined by a pair of European trios (other than drummer John Poole who is on the earlier set), O'Day is heard
first at the end of her prime period and then at the beginning of her comeback, looking happy, scatting away, and
cracking inside jokes. In both cases her seven-song sets include “Sweet Georgia Brown” and “Tea For Two,” her two
numbers in the 1958 film Jazz On A Summer's Day. O'Day sounds masterful throughout.
The Bonus Disc, has additional material from Erroll Garner (with the same trio), Jimmy Smith (with Nathan Page in
Thornel Schwartz's place), and Coleman Hawkins. Hawkins was starting a downward slide in 1966 and he does not
looktoo healthy, but he plays well enough in an all-star mini-set (which includes a feature on “Body And Soul”) that
also features altoist Benny Carter, pianist Teddy Wilson, bassist Bob Cranshaw and Louie Bellson; the latter takes a
lengthy and dazzling drum solo on “Disorder At The Border.”
This great box plus the three previous ones are available from www.jazzicons.com.