What You'll Find Here: Music, Movies and Me

Since May 1976, I have written in journals. When I have nothing particularly resonant to say about my own inner turmoil, philosophic ramblings, sexual peccadillos or whining on about the state of the world around me...I have always fallen back on reporting the cultural time consumption that takes up in inordinate portion of my daily goings on.

In the 40+ years since my first concerts seeing Children's Symphony presentations on Sundays at the Pasadena Civic or The Hot Jazz Society's monthly Dixieland romps in an old meeting hall on the edge of the L.A. "River" across from Griffith Park, I have been sold heavily on the magic of live music. As Neil Young so aptly put it, "Live music is better bumper stickers should be issued."

Growing up a few orange groves and canyons length away from Hollywood also contributed greatly to my family's addiction to movie going. From the time I was a small there were weekly trips to the drive-in theaters that dotted the landscape, or the local Temple theater for the Saturday matinees. Once in a while we'd drive the 12 miles into Hollywood and see something in one of the magnificent old movie palaces like Grauman's Chinese, the Egyptian, The Pantages or later the Cinerama Dome. My dad loved Westerns and War movies, as if he didn't get enough shoot-'em-up as an L.A. County Sheriff in his day gig, my mom adored musicals and comedies. My brother and I loved them all.

At SDSU, I played in my first gigging band and began booking concerts on campus as part of the well-funded Cultural Arts Board, kindling for my future life in and around music.

So it's not surprising that my first jobs out of college were working in local video rental places (which were all the rage) or managing a couple of Sam Goody record stores in Mall's on the East Coast where we marveled at the new CD format and sold the first home computers and video games (yes Commodore and Pong and Atari).

So these are really just extensions of all of those journal entries talking about the great new movies I was seeing and LPs/CDs I was listening to.

Though iPODS/iPADs, apps, smart phones and downloads now make music and movies accessible in your own pocket, there is still nothing like sitting in front of a stack of speakers with a room full of people swaying to music created before your eyes. Nor is there anything that works quite so well for me to escape the real world and all of it's pressures just outside than two hours in a dark theater, absorbing the stories flickering across that wide screen as they pull you into their world.

But a really good taco runs a close third...

Wednesday, October 19, 2011

Charter for Compassion

Charter for Compassion

CD REVIEW: STATE OF ART by Ben Williams





            Young bassist Ben Williams, while schooled in the music of his predecessors makes a hip statement here about the state of jazz music today on his Concord Jazz debut, State of Art. In the liner notes he states his respect and love for the music of the past but also sees this album as his “honest and humble attempt at expressing (musically) what it means to be alive in 2011.” In interpreting the music of Stevie Wonder, Michael Jackson, and Goapele as well as his own compositions, he believes that “The great American Songbook is an open book to which we should continue to add pages.” And yes, this has always been a huge part of the jazz tradition itself: reflecting a modern spin on the state of the world in the present.
            A solid and spirited bassist, Williams has surrounded himself with a young crew of his peers who obviously embrace the same sense of NOW in their approach to Williams’ vision. Saxophonists Jaleel Shaw (Mingus Big Band, Roy Haynes Quintet) and Marcus Strickland (Haynes, Jeff “Tain” Watts, Tom Harrell, Dave Douglas) as well as pianist Gerald Clayton are all accomplished leaders in their own right.
            The uplifting vibe of the music throughout is refreshing, especially on Williams’ own compositions including “Mr. Dynamite”, a modern take on a groove-based, mid-60s soul/jazz trip featuring a fun bowed bass solo. Even the more laid-back tunes on the disc have a palpable positive strength to them. 
            The leader’s short original intro to Michael Jackson’s “Little Susie” is a wonderful minute and a half bass solo highlighting his warm tone and fluid touch. Shaw’s soprano sax is featured on this decidedly jazzy take on this Williams’ hip arrangement of this pop chart. This tune features a stroing quartet which is also wonderfully incorporated on the Goapele cover, “Things Don’t Exist”.
            The most noticeable diversion from form here is the tune, “The Lee Morgan Story” which features emcee John Robinson rapping his own composition about the legendary trumpeter. Guest star Christian Scott fills the Lee Morgan role with his winding trumpet lines. Other than this track, the CD is an all-instrumental affair.
             There are a couple of older pieces here illuminating Williams feel for what came before. Woody Shaw’s great tune “Moontrane” comes early in the program to keep your ears attuned to the fact that this release is versed in the masters as well as embracing today’s world. Ending the CD is a more straight-ahead arrangement of the standard “Moonlight In Vermont” . Guitarist Matthew Stevens and Clayton play wonderfully off of each other her. Stevens also really shines on the solo laden burner, “November” 
            Also of note are the tasty contributions of drummer Jamire Williams, percussionist Etienne Charles throughout. Expect great things from Ben Williams and his bandmates for years to come. State of Art is a sterling introduction.
             DC native, Williams was winner of the prestigious Thelonious Monk International Jazz Competition in 2009. This led to his signing by Concord Records. He has worked with Wynton Marsalis, Terence Blanchard, Mulgrew Miller and Roy Hargrove among others. If State of Art is any indication, you will be hearing much from this ambitious and talented young musician.

- A short interview with Ben Williams

- Hear all of the music from State of Art on YouTube. Here’s track 1: “Home”

6th Annual JazzTrax Summer Music Festival in Big Bear Lake




It has been a hectic summer this year. Now back in Big Bear Lake, I have been gigging like a madman and getting down off "the hill" sporadically to catch shows in Southern California and a few short trips East. It is all too rare when a national act comes up the mountain to Big Bear Lake and when we get them it is always a big occasion for music fans up near the 7000 feet mark. The Skeleton Key Folk Music Center, the town's best kept secret for free weekly local and regional music had one of their first national acts earlier in the year when folk/country songwriter Butch Hancock came to town from Texas for an intimate concert. Granted the natl. acts here are ticketed events but Hancock was well worth the price of admission playing a wonderful set of his funny, poignant and savvy originals. He even got the house band, Skeleton Key up for a mini-set at one point.

The Letterman also play a yearly gig in town as well as city sponsored concerts at The Discovery Center and at the Swim Beach. Maria Muldaur played this summer and previous concerts have featured America, Marcia Ball, and many others. But jazz music is sporadic at best. We did have bebop and country guitar master Jackie King in town a couple of years back. Willie Nelson, Jimmy Witherspoon, Chet baker, Ray Charles are just a few the names on his CV. He played a magnificent solo jazz set and then joined my local group Porch Jones for 2+ hours of country, rock, blues and Bob Dylan tunes. Keep dreaming if you expect to see straight-ahead or outside jazz artists up here very often though the location and proximity to L.A. would make for a great, hip jazz festival. Perhaps an ancillary, smaller version of the spectacular Angel City Jazz Fest that happens in L.A. each year.

One area of jazz that DOES get some action on the mountain is SmoothJazz. Okay, if you know me you may be surprised to see me writing about a SmoothJazz festival. I admit, it is not my favorite genre of music and yes, in an uncharacteristic moment I told Kenny G he "sucked" to his face many years ago. What a couple of cocktails and an opening act horning over his allotted time can do to someone waiting to hear Miles Davis. Apologies, Mr. G. You're the millionaire, I'm not. So what do I know. Though I stand by my comments.

Anyway, I will also mention that it is not the standard hate rap against SmoothJazz that I beat a drum to.  But, we all know that even the best SmoothJazz can remind one of a) soul music rid of it's funky heart b) music to shop or ride elevators by or c) background for "your local weather on the 8's" if heard out of context.

Wait, context? Well, maybe the best context is exactly what many of the best SmoothJazz festivals give their audiences--bright, sunny music in vacation-like settings...rolling vineyards, exotic tropical beach fronts or lakeside in a beautiful mountain resort with plenty of good food and libations.

Somehow all of that sunshine, all of those wine-flushed cheeks of the exuberant if a tad slurry crowds dressed in their splendiferous summer duds just brings out the best in this music. Who says you can take the music out of the elevator but you can't take the elevator out of the music?

Still, I'd rather hear this music in this setting instead of mixed into an otherwise straight ahead jazz program. I do admit having worked PR on records by great SmoothJazz forefathers like The Yellowjackets and Acoustic Alchemy. I also booked Hiroshima, Spyro Gyra, and a plethora of fusion bands into SDSU back in the mid-late 70s, so I'm not adverse to the music when done with a bit of integrity and jazz harmonized solos by major players. I also LOVED almost everything on CTI Records back in the day which was really the precursor to the whole genre but which featured some jazz heavyweights such as George Benson, Ron Carter, Hubert Laws, Paul Desmond, Herbie Hancock, Stanley Turrentine, etc etc. So I am not tone deaf to the genre's intricacies and possibilities. Just often let down by the commercial elements and sameness tonally these days. So would I generally be prone to a full day, much less a weekend of this music? Not generally, but this is Big Bear and a day in the sun, on the beach just may get me motivated.

The 6th Annual Big Bear Lake JazzTrax Summer Music Festival in what is called Southern California's only "four season resort" proves just that. Growing every year through the fine promotion efforts of JazzTrax, the city of Big Bear Lake and local sponsors, the festival has quickly grown accustomed to its recent digs on the Floating Stage Lakeside Lawn on the beach of the Marina Resort. In conjunction with Nottingham's Restaurant & Tavern across the street who catered the event, the perfect weather, ideal setting and strong line-up the weekend of June 24-26 made this wonderful start of the Big Bear summer tourist season.

Friday night featured a smaller scale concert under the tent by Chris Standring while Saturday's line-up ran from 2-8pm and included Marcus Anderson, Johannes Linstead and crowd-favorite Warren Hill. There was even an after-party at Nottingham's Robin Hood Resort featuring DJ Johnathan Phillips.

But Sunday's crowds even topped the previous days with a line-up of genre favorites. You saxophonist Jackiem Joyner opened the day with a modern, funky set followed by long-time Smooth Jazz superstar Marion Meadows and his impeccable band. A little soprano sax goes a long way with me so I was antsy by the time the band got around to the proto-rap anthem "Rapper's Delight". Why this decidedly non-jazz cover? Marian Meadows bassist of nearly 18 years, Chip Shearin was recently inducted into the Rock N Roll Hall of Fame as bassist on this seminal hip-hop classic from the Sugarhill Gang. Meadows even asked if there was any in the crowd who knew the word. A couple of brave women grabbed their moment of (out-of-tune) glory and hopped up on stage to the crowds amusement.

Closing the day was the penultimate SmoothJazz showman, guitarist Peter White. I must make note here that while I did work for a PR firm that has worked Peter White's records over the years, I never personally was his publicist. As a guitar player, I was impressed by his touch and tastefulness. Always, tossing in a sneaky quote from a 70s hit or a slick jazz harmony to spice things up when the music verged on the predictable. Most impressive though to me, a novice at Smooth fests, was White's easy rapport and natural stage presence and connection with the audience. Always opting for fun instead of heaviness even on tunes that bordered on the overly dramatic.

Most importantly, White knows his crowd. His set is peppered with silky covers of easily recognizable hits from the 60s and seventies as well as groove oriented jazzier numbers which allow the band some room to stretch. Like most Smooth acts though the solos lean heavily on the leader's signature sound. Even in a band with ringers such as Eric Marienthal on tenor and alto sax and Gregg Karukas on keys, both among the A-list purveyors on their respective instruments in the genre today, White took the lion's share of the spotlight. He played well-thought out and articulated solos through out the near 90 minute set. The rhythm section of Eric Valentine (who also backed Meadows) and bassist/vocalist Nate Phillips was propulsive throughout.

I wasn't hip to the titles of the first two tunes White played but the crowd sure was, leaping to their feet as the tunes transitioned one into the other. The third tune was a bit of Western pastiche called "Ramon's Revenge" which told the story of a friend's roller coaster love affair. White even tucked a humorous quote from the cowboy anthem "Ghost Riders In The Sky" into his solo. Next was a tastefully emotive number White wrote about the famous jazz space in Austin called "Caravan of Dreams" which featured Marienthal on a warm but too-short solo.

Commenting on the weather on his first trip to Big Bear Lake, White began the next number with a few bars of Johnny Nash's reggae hit, "I Can See Clearly Now" before thrilling the crowd with a tender mid-tempo version of Stevie Wonder's "My Cherie Amour" with ended with a brief quote of the standard "It Had To Be You". Don't quote me on that last title. i was scrambling to find a pen that worked at that point.

As the band vamped White, who communicated warmly with the crowd all night, told the audience that they weren't really playing a song just "warming up before we actually get to the song...don't try this at work, your boss won't appreciate it." Karukas even teased White into a short quote of the Rolling Stones' "Miss You" riff before they eventually landed on a shimmering take on the Isley Brothers' hit "Who's That Lady". This segued into a wah-wah fueled guitar figure for The Temptations classic "Papa Was A Rolling Stone" with White and Phillips splitting the vocal chores.

Next up was the beautiful song dedicated to his mother back in England, White's "My Prayer" followed by White's daughter's favorite song, "Bright". Taken from White's latest release, this he dedicated to the late NBA and SmoothJazz all-star Wayman Tisdale.

"We'll go back again to my 'big hair' album called Reflections for this one." They played a gorgeous version of the Bee Gees "How Deep Is Your Love". And on the set went...long and with lots of treks into the crowd to pose with folks and virtually play to nearly every corner of the joint. They even got down on the right end of the pier/stage and kicked their feet in the water while they played. Fans waded out into the water to get pictures and be close. It was a very interactive set with the crowd.

As the sun went down behind Butler Peak, the band was still playing Eric Marienthal's arrangement of the Les McCann/Eddie Harris classic "Compared to What". This was one of those rare gigs where the venue truly helped me enjoy the music much more than I would have in a normal boring auditorium. The folks that put on this fest and their longer, bigger festival on Catalina island know exactly what their fans are looking for and know just how to provide it. If SmoothJazz is your thing then make a point of attending next year's Big Bear Lake Jazz Festival. You can't go wrong.