For fans of 1940s to 1960s West Coast jazz, there is only one place to go to get their “fix” on a semi-annual basis. That’s in LA, every Spring and Fall, when the Los Angeles Jazz Institute puts on their themed four-day jazz weekends. Each festival has its own theme, whether it is the music of Stan Kenton, Maynard Ferguson, Shorty Rogers or a theme based around West Coast tours of Count Basie, such as happened last Fall.
This year’s theme was Big Band Showcase, centered around the big bands of Bill Holman, Terry Gibbs, Jack Sheldon, and Clare Fischer, just to name a few. Superlatives are an understatement for the quality of music that Ken Poston, artistic director, brings to town, and West Coast jazz fanatics flock here from around the globe to sample the jazz fare. Once again, this year Poston did not disappoint – as attested to by the large crowds in attendance at the Sheraton Four Points at LAX Hotel. What makes these weekends unique is that all events take place at the hotel and both the musicians and
fans mix freely both offstage and in the restaurant and bar on premise. Vendors sell rare CDs from the performers as well as LA-based jazz musicians. Longtime attendees renew acquaintances and swap stories and the latest jazz gossip. The crowd is largely elderly as they were around back in the day when The Lighthouse was THE place to catch Art Pepper, Jack Sheldon, Shorty Rogers and others who made the cool West Coast Jazz sound as opposed to the hotter hard bop found back East. Both genres swung but the West Coast lifestyle provided a more relaxed vibe that carried over into the music.
Trying to describe highlights of the weekend is a difficult task when there were over twelve big bands present, and that excludes the college bands that entertain over the lunch hour each day around the pool. However, there were so many special moments that it would be a disservice not to at least share some highlights – and of those there were many.
Friday’s performances were largely devoted to Bill Holman, the octogenarian arranger/composer/band leader extraordinaire. To honor Bill, it took three different performances as his longevity deserved more than a single session. His band’s opening shot was devoted to the 1952-1955 Stan Kenton time period and featured Holman’s compositions and arrangements for that period with the Kenton band. Holman’s tribute to Zoot Sims, found in Zoot and Fearless Finley, with solos by trombonist Andy Martin and saxophonist Doug Webb were superb. Holman presented his ensemble Theme and Variations over three performances and each, like the first in the Kenton set were memorable. Between the first and second Holman band presentations, the Pete Christlieb Big Band took the stage and as usual Pete’s meaty solos brought crowd members to their feet. Bop Suey, a non-stop blend of bop licks was countered in its intensity by the gorgeous Strayhorn ballad, A Flower is a Lovesome Thing.
Holman was back next with his Songbook renditions and once again his arranging brilliance was handled with aplomb by an all star aggregation. There were so many great solos by his band members that it wouldn’t be fair to single out any particular musician. How can you with a band featuring West Coast stars like Andy Martin, Bob Efford, Carl Saunders, Ron Stout, Bob Summers, and Joe Bagg? Friday evening’s marquee late night events were provided by the Terry Gibb Big Band, featuring Bill Holman charts and one last Holman Band set featuring his most current work. Gibbs’ Dream Band was reported to be the last performance of that band, but with the passion and joy that Gibbs felt (at age 83!) in performing on vibes, we can’t be quite sure that this was his swan song. The constant good-natured banter between Gibbs and Med Flory was a riot as they each good naturedly ribbed each other. Song highlights included I’ll Take Romance, The Song is You, Stardust, and Billie’s Bounce, in which each band member soloed for a few bars.
Saturday was devoted to bands of Clare Fischer, Med Flory and Supersax, and evening shows of Kenton alumni, as well as an All-Star Tribute to Maynard Ferguson. Fischer’s time on stage was moving as ill health forced him to mostly observe his son, Brent, lead his band in a moving neo-classical set based largely on Mussorgsky’s Pictures at an Exhibition. Other compositions in a jazz vein were Lennie’s Pennies from Thesaurus and Cal’s On, a tribute to Cal Tjader. Clare played a solo piece that brought tears to the eyes of his family and the audience. The love between father and son was expressed eloquently throughout their set.
Med Flory’s reunited Supersax set was largely saxophone-oriented with the brass providing accents, and the sax blend was flawless. Med also told a few stories that had the audience roaring with approval. He is a real character and so well-loved by the older jazz generation. Just Friends, Moose the Mooche, and One for Woody were highlights of his set.
Sunday was a mix of the old and new. Chris Walden, (whose three Origin Records label CDs have been covered by this reviewer), at age 41, was one of the youngsters keeping the big band flame alive. His set swung with modern melodies including an Olympic theme, When You Wish Upon a Star, and a new composition, the witty In the Dog House. Bobby Shew, Chris’ trumpet teacher, had several front and center stage solos later in the set which proved Shew’s continuing power and taste on the trumpet. Striking vocalist, Tierney Sutton, sang at the set’s end, with It Had to be You, showing her vocal range.
Leaving the last for the best, I’d have to say the absolute highlight of the entire weekend was the performance of the Clayton-Hamilton Jazz Orchestra, conducted by John Clayton. In my opinion there are only four major jazz orchestras playing today-The Lincoln Center Jazz Orchestra, the Village Vanguard Jazz Orchestra, the Mingus Memorial Big Band, and the Clayton-Hamilton Jazz Orchestra. I’ve seen them all and they all are excellent – but if I had to choose one as the Big Band that knocks me out it would be Clayton-Hamilton! Their sheer power, drive, showmanship, and finesse come closest to my all time favorite Basie bands. Conducted with style and grace by John Clayton and driven by drummer fantastique Jeff Hamilton, this orchestra does not have a weak link, as their brass section’s heat is balanced by some of the smoothest most soulful reed players around. Outside of co-leader Jeff Clayton on sax, and probably the last of the old Basie trumpeters, Snooky Young, still going strong at 88, I won’t go into the virtues of any of the other band members as I’d need to mention every single one – they all shine equally. This is a band that should be a required live listening experience for any lover of big band jazz. With no disrespect to any of the other three aforementioned super bands, The Clayton-Hamilton Jazz Orchestra gets my vote as the gold medal winner.
Mark May 2008, on your calendars, jazz lovers. The Los Angeles Jazz Institute will be back with their next jazz weekend, this time devoted to jazz of the Broadway and film composers. It would be the best $375 a jazz lover could spend for tickets to a first class event. Start saving your pennies now…..
– Jeff Krow
[All photos copyright 2007 Mark Sheldon]
