Playboy Jazz Festival - June 16 & 17

[Lois Gilbert]

From straight ahead to contemporary jazz, scorching blues to swinging big band, fiery salsa and world music, the 29th annual Playboy Jazz Festival will present a stellar lineup of talent, representing the entire spectrum of jazz on Saturday and Sunday, June 16th and 17th, at the world famous Hollywood Bowl.

Featuring renowned jazz giants, international superstars, and emerging newcomers, the two day event will present a variety of highly anticipated debuts by veteran artists and today's most acclaimed young talents, as well as the return of popular Festival favorites.

The high priestess of the blues, three time Grammy winner Etta James performs with the heartfelt passion of someone who has lived what she sings.

With over a dozen top ten R& B smashes and more than 25 chart toppers to her credit, she is the recipient of the National Academy of Recording Arts and Sciences Lifetime Achievement Award, is in the Rock 'N Roll Hall of Fame and has her own star on the Hollywood Boulevard Walk of Fame.

Returning to the Festival for her seventh appearance, the incomparable James will perform with her well known Roots Band, showing off the extraordinary vocal prowess and sassy blues style that has become her trademark, and made her a Festival favorite who never fails to rock the house.

Making a long anticipated Festival debut is the legendary alto sax-master Phil Woods and his Quintet, featuring Bill Charlap, Brian Lynch, Steve Gilmore, and Bill Goodwin.

A multiple Grammy winner and recent recipient of the National Endowment for the Arts Master Award, Woods originally came onto the music scene when bebop was being heralded as the new direction of jazz.

A protégé of Dizzy Gillespie, Woods has worked with such luminaries as Quincy Jones, Thelonious Monk, Buddy Rich, Benny Goodman, Paul Simon, Steely Dan and many more. Woods and his distinguished Quintet will share their gifted interpretations of jazz standards, recalling a bit of the era of Charlie Parker and Dizzy Gillespie in the best bebop tradition.

In her first Hollywood Bowl appearance since completing her successful tenure as the Creative Chair for Jazz at the Los Angeles Philharmonic, vocalist extraordinaire Dianne Reeves returns to the Festival stage for the seventh time. One of the pre-eminent female jazz vocalists in the world, Reeves won the Grammy for "Best Jazz Vocal Performance" for three consecutive recordings, a 'first' in any Grammy category.

Known for her virtuosity and masterful styling, she was the first singer to ever perform at the new Walt Disney Concert Hall. Last year she won a fourth Grammy for her recording of the title soundtrack from George Clooney's Oscar nominated film, Good Night and Good Luck. A Festival favorite, fans are eagerly awaiting her return performance and the release of her first album in five years due later this Fall.

One of the greatest living guitarists and a current day icon, Buddy Guy will again dazzle the crowd with his trademark wild and frenzied guitar playing. An internationally acclaimed, multi-Grammy winner and Rock 'N Roll Hall of Famer, Guy has influenced such rock titans as Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan among others. Known for his stinging electric blues and impassioned vocals, Guy's most recent CD Bring Em In, featured collaborations with famed musicians Carlos Santana and John Mayer.

A virtual genre-of-one in contemporary jazz, Grammy winning trumpeter Chris Botti has earned both critical acclaim and mainstream success. A gifted instrumentalist, talented composer, and charismatic performer, Botti is known for his lyrical melodies and the virtuosity of his playing. His last two CDs were certified Gold, and his noted PBS television special, Chris Botti Live: With Orchestra and Special Guests is one of PBS' most popular shows. Fans will no doubt be seduced again by his smooth, atmospheric style.

Just emigrated from Cuba, world renowned Salsa singer Issac Delgado will make his Festival debut in one of the first live performances of his new world tour. Described by The New York Times as "One of the greatest singers in the world regardless of genre," Delgado is considered the father of 'Timba' music, the fusion of jazz, salsa and funk. A two-time Latin Grammy nominee, his innovative mix of Afro-Caribbean rhythms, pop, jazz and avant-garde electronic sounds are sure to move fans to their feet.

Latin jazz enthusiasts will no doubt be excited by the return of Arturo Sandoval, whose Mambo Mania Big Band will make its world premiere during Sunday's show. In a revival of the worldwide '50s Mambo dance craze, Sandoval and his band will pay tribute to original Mambo creators Perez Prado and Tito Puente, complete with a full orchestra and a whole repertoire of singers and dancers. Several of Sandoval's original compositions from the movie The Mambo Kings will also be included. Expect a burning performance unlike any other you've ever seen by Sandoval.

Adding to the multi-cultural mix is young African singer Angelique Kidjo, a four-time Grammy nominee who is making her Festival debut. Kidjo broadens the boundaries of world music with her innovative arrangements of West African musical traditions, mixed with elements of R& B , funk, jazz, Caribbean rhythms and Congolese Rumba. Performing in English, French, and the African languages Yorba and Fon, her scintillating sound and alluring vocals combine to captivate the audience.

Always a favorite, The Count Basie Orchestra (under the direction of longtime veteran Bill Hughes) is an American institution. Dedicated to advancing the traditions of the big band sound, much of the music still 'swings' from musicians originally hand picked by the "Count" himself. Continuously in demand, the group has 18 Grammys to their credit, and continues to rack up numerous awards and accolades. Returning for their eighth appearance, the band continues to evolve to the delight of both fans and critics.

A special highlight of Saturday's show, the esteemed Randy Brecker-Bill Evans Soulbop Band with noted musicians Hiram Bullock, Dave Kikoski, Victor Bailey, and Rodney Holms will make their debut appearance as a group. Each an established Grammy winning artist, trumpeter Randy Brecker and saxophonist Bill Evans have been at the forefront of jazz for over 20 years. Brecker, who with his late brother Michael helped shape the sounds of jazz, R&B and rock, just won two Grammys for their latest collaboration, Some Skunk Funk, at the recent 2007 Grammy ceremony. Evans, known not only as a virtuoso saxophonist, but a prolific keyboardist, producer and writer, was one of the first to blend hip-hop and jazz and was instrumental in putting together Miles Davis' infamous comeback band in the 80s. In 2003, Brecker and Evans joined forces to form a new group, The Randy Brecker-Bill Evans Soulbop Band, a unique mixture of soul, bop, and contemporary jazz. This will be their first performance together at the Festival.

Also making his debut as a leader is one of the most talked about figures in jazz, saxophone virtuoso James Carter and his Organ Trio. Heralded as a powerful new force in jazz when he first came on the scene, Carter recently topped Downbeat magazine's annual critic's poll three years in a row in the baritone sax category. Highly regarded for his advanced technique and intensity, Carter and his Trio will showcase the instrumental prowess that has brought them all to prominence. Carter will also be performing with the Cos of Good Music.

Returning as Master of Ceremonies for his 27th season, jazz aficionado extraordinaire Bill Cosby will again bring together his own group of acclaimed musicians for the Cos of Good Music XI. They include: accomplished bassist Dwayne Burno; sax virtuoso James Carter; world class drummer and percussionist Ndugu Chancler; saxophonist Vincent Herring; trumpeter Jeremy Pelt; pianist and keyboardist Larry Willis; bass player Ron Johnson and Grammy winning vocalist, guitarist Ray Parker, Jr.

Sure to ignite the crowd is the ultimate west coast Latin party band, Johnny Polanco Y Su Conjunto Amistad. Appearing for the very first time, Polanco and his group create the kind of infectious, rhythmic, multi-layered music that compels one to want to hit the dance floor. Considered the 'hottest' salsa orchestra in Los Angeles, Polanco is proficient on 13 different instruments and has performed with such Latin jazz greats as Johnny Pacheco, Cachao, Tito Puente and many others.

One of the most influential trumpet players of his generation, Terence Blanchard's music reaches beyond the expressive sound of his trumpet. The Grammy nominated Blanchard (a New Orleans native) is also renowned for scoring films and his work with director Spike Lee. Their most recent collaboration is the highly acclaimed 2006 Hurricane Katrina documentary When The Levees Broke: A Requiem In Four Acts. This is Blanchard's second Festival appearance.

Destined to be a crowd pleaser is the return of Norman Brown's contemporary jazz group, "Summer Storm." Each a star in their own right, Summer Storm currently features Grammy winning guitarist Brown; pop R&B vocal legend and multiple Grammy winner Peabo Bryson (whose 2005 performance was a highlight of the show); soprano sax-master Marion Meadows; and Grammy nominated keyboardist Jeff Lorber. By mixing Brown's soul driven R&B, with Bryson's soulful, silky vocals and Meadow's sweet , but funky soprano sax sound, along with Lorber's melding of bebop creativity and pop song craft, they create a hybrid sound that is distinctively cool and contemporary and uniquely their own.

Also returning for a second appearance is Grammy winning Renaissance man (acclaimed bassist, composer, producer, and multi-instrumentalist), Marcus Miller. One of the most influential artists in jazz, blues and R&B, Miller will showcase the eclectic blend of inspirational music that has won him raves from critics and fans all over the world.

One of the most sought after talents on the music scene today is African bassist, vocalist, and composer Richard Bona. Returning for the second time, Bona (from East Cameroon, Africa) is revered for his multi-faceted singing and arranging talents that have catapulted him into the upper echelons of the jazz and world music pantheon.

Sure to be a special highlight of Sunday's show is Red Holloway's 80th Birthday Celebration with special guest Kevin Mahogany. A legend in the world of jazz and blues, Holloway is making his long awaited Festival debut as a leader. A tenor sax player known for his big, hard driving sound, Holloway has performed with everyone from Billie Holliday, Muddy Waters, and Sonny Rollins to Aretha Franklin, George Benson and countless others. With a voice reminiscent of the late Joe Williams, Kevin Mahogany is considered the quintessential jazz vocalist. Together, they will demonstrate the artistry that has made them both famous.

Direct from New Orleans, Nathan Williams and the Zydeco Cha Chas will take the Playboy stage for the very first time. The group plays zydeco, the fast and furious accordion driven dance music of the Creole people of southern Louisiana. With seven albums to their credit, Nathan and the Zydeco Cha Chas are known for their trademark rubboard percussion, electric guitars, and R&B grooves. Like their newest album, Hang It High, Hang It Low, the group delivers the expressive down home sounds of roots music that made them one of the most popular acts at the New Orleans Jazz and Heritage Festival.

One of the brightest new stars on the jazz scene, 21 year old piano prodigy Taylor Eigsti is also making his Festival debut. Acclaimed for his wizardly techniques and mature style, Eigsti was nominated for two Grammys for his latest album Lucky To Be Me. With five CDs under his belt (the first at age 14), and appearances with such top artists as Al Jarreau, Diana Krall, Dave Brubeck, and more, Eigsti incorporates the progressive jazz sound of the 21st century.

Best known for his role on the celebrated long running classic television series The Cosby Show, bass player Malcolm-Jamal Warner is now taking on the music world with his jazz/funk band, Miles Long. Offering a fresh perspective on today's music, Warner and his band are making their Festival debut. Playing to packed houses throughout the Los Angeles club circuit and opening for such high profile acts as Earl Klugh and the late Luther Vandross, the band's debut CD, "…the miles long mix tape…" has a distinctive sound, running the gamut from Living Color to Coltrane.

The Eagle Rock High School Jazz Ensemble will open Saturday's show at 2:30 p.m. Opening Sunday's show at 2:00 p.m. is Malcolm-Jamal Warner's Miles Long.

George Wein serves as producer of the Playboy Jazz Festival for the 29th consecutive year. Darlene Chan is associate producer for both the Playboy Jazz Festival and Festival Productions, Inc. Hugh Hefner is executive producer and Richard Rosenzweig is president of the Playboy Jazz Festival. For more information on the Playboy Jazz Festival and for ticket information and sales, call (310) 450-1173 or visit our Web site, www.playboyjazz.com.

[Peterdubya]

Here's a shorter version of the above

Saturday, June 16th

: Buddy Guy :: Chris Botti :: Phil Woods Quintet featuring Bill Charlap, Brian Lynch, Steve Gilmore, Bill Goodwin :: Issac Delgado :: Angelique Kidjo :: Count Basie Orchestra under the direction of Bill Hughes featuring Butch Miles :: Randy Brecker-Bill Evans Soulbop Band :: James Carter Organ Trio :: Cos of Good Music featuring Dwayne Burno, James Carter, Ndugu Chancler, Vincent Herring, Ron Johnson, Ray Parker Jr., Jeremy pelt, Larry Willis :: Johnny Polanco Y Su Conjunto Amistad :: Eagle Rock High School Jazz Ensemble under the direction of Greg Samual :

Sunday, June 17th

: Etta James and the Roots Band :: Dianne Reeves :: Arturo Sandoval's Mambo Mania Big Band - World Premiere :: Terence Blanchard :: Norman Brown's Summer Storm featuring Peabo Bryson, Marion Meadows, Jeff Lorber :: Marcus Miller :: Richard Bona :: Red Holloway's 80th Birthday Celebration with special guest KEVIN MAHOGANY :: Nathan and the Zydeco Cha Chas :: Taylor Eigsti Quartet :: Malcolm-Jamal Warner's Miles Long :

[Lois Gilbert]

Here's the line up for the Playboy Jazz Festival 2007, IMO their strongest
in many years, do you agree Dr. Jazz?

Saturday: June 16
Buddy Guy
Chris Botti
Phil Woods Quintet featuring Bill Charlap, Brian Lynch, Steve Gilmore and
Bill Goodwin
Issac Delgado
Angelique Kidjo
The World Famous Count Basie Orchestra Directed by Bill Hughes featuring
Butch Miles
The Randy Brecker-Bill Evans Soulbop Band with Hiram Bullock, Dave Kikoski,
Victor Bailey and Rodney Holmes
The James Carter Organ Trio
Cos of Good Music featuring Dwayne Burno, James Carter, Ndugu Chancler,
Vincent Herring, Ron Johnson, Ray Parker, Jr., Jeremy Pelt and Larry Willis
Johnny Polanco y su Conjunto Amistad
Eagle Rock High School Jazz Ensemble under the direction of Greg Samuel

Sunday: June 17
Etta James and the Roots Band
Dianne Reeves
Arturo Sandoval's Mambo Mania Big Band (World Premiere)
Terence Blanchard
Norman Brown's Summer Storm featuring Peabo Bryson, Marion Meadows and Jeff Lorber
Marcus Miller
Richard Bona
Red Holloway's 80th Birthday Celebration with special guest Kevin Mahogany
Nathan & the Zydeco Cha Chas
Taylor Eigsti Quartet
Malcolm-Jamal Warner's Miles Long



More info http://www.playboy.com/arts-entertai.../jazzfest2007/

[jaz4life]

I'm thinking of going on Sunday June 17th. What is the atmosphere like there? Are there places to get great food? Since it's an all day affair from 2:30 until 10:30 is it a nice venue?

http://www.festivalproductions.net/e...ls_a.php?ID=11


Thanks.

[Peterdubya]

Jaz4life,
The Hollywod Bowl is a huge place 15,000, it's usually hot and sunny and a prety fun hang. Beach balls, picnics, wine, and jazz....
They do sell food there, it can be a little steep, but it's pretty good.

[jaz4life]

thanks for the info. i'll b on vacation & will be there on Sunday. i am very excited!

Valerie, will u b there?

could there b a potential hang?

[Valerie]

Originally Posted by jaz4life

thanks for the info. i'll b on vacation & will be there on Sunday. i am very excited!

Valerie, will u b there?

could there b a potential hang?

i'll probably be there both days unless i end up on the east coast to celebrate my bday.

[jaz4life]

Originally Posted by Valerie

i'll probably be there both days unless i end up on the east coast to celebrate my bday.

Well I'd love to meet you and buy you a birthday drink!

[GoodSpeak]

Originally Posted by jaz4life

thanks for the info. i'll b on vacation & will be there on Sunday. i am very excited!

Valerie, will u b there?

could there b a potential hang?

I'll be there both days, as per usual.

Gonzo sometimes attends....so does Scott Yanow and Peterdubya.


I'm in

[Scott Yanow]

I'm always there. I have perfect attendance for all 29 years. It's the only jazz festival I can drive to in 20 minutes. Of course I was only 3 when I went there the first time.

It's a party with jazz rather than a jazz party. Bring the sunblock, plenty of food and drink (particularly the latter) and definitely a sense of humor. Don't expect to the audience to be quiet during ballads, or all of the music to be jazz.

[GoodSpeak]

Originally Posted by Scott Yanow

I'm always there. I have perfect attendance for all 29 years. It's the only jazz festival I can drive to in 20 minutes.

Cool.

I've been going since 1981.

Originally Posted by Scott Yanow

Of course I was only 3 when I went there the first time.

What a coincidence...so was I

Originally Posted by Scott Yanow

It's a party with jazz rather than a jazz party. Bring the sunblock, plenty of food and drink (particularly the latter) and definitely a sense of humor. Don't expect to the audience to be quiet during ballads, or all of the music to be jazz.

Good point.

Though I do think people exaggerate just a tad sometimes about the less-than-quiet audience.

[Vibeman]

Yeah, the audience can be something else, never quiet but, you can still hear the music over those who prefer to be loud. Expect ANYTHING, including anyone borrowing your seat, your seat pad, binoculars and food if you let em. It is all in a long interesting day of music and festivities.

We used to go every year until we missed one year and got dropped from the "early notification" for seats. Now they cost us a fortune to get the average seat. But it is a one time event, in that no concert is ever the same so you are witnessing and are part of history when you go.

[jaz4life]

Could we plan a hang? Maybe we can meet somewhere in between one of the sets? Since I've never been there b4, I don't know what to expect. I think we're taking the shuttle from the zoo.

We will probably eat there at one of the restaurants. How is the food? What types of food? Or maybe we will bring food.

[Valerie]

Originally Posted by jaz4life

Could we plan a hang? Maybe we can meet somewhere in between one of the sets? Since I've never been there b4, I don't know what to expect. I think we're taking the shuttle from the zoo.

We will probably eat there at one of the restaurants. How is the food? What types of food? Or maybe we will bring food.

a "hang" may be difficult but i have the same seat every year and would love for you to come by and say "hello". if you walk down towards the stage from the last aisle stage left, i am on your left side. i am a "senior" with very short grey hair.

some of the food from patina is good but of course pricey. they now have small stores on the premises (as well as the restaurant) where you can buy pre-packaged sushi, sandwiches, salads, sweets, etc. lots of folks bring picnic stuff but if you're not sitting in a box with a table, it gets messy.

[GoodSpeak]

Originally Posted by jaz4life

Could we plan a hang? Maybe we can meet somewhere in between one of the sets? Since I've never been there b4, I don't know what to expect. I think we're taking the shuttle from the zoo.

We will probably eat there at one of the restaurants. How is the food? What types of food? Or maybe we will bring food.

I'm up for it.

We're in Section M2, back row [our usual spot]...name a day and time and we'll make it happen.

There really is no in between sets. The stage revolves every hour or so to offer a new band. Constant music, but a great crowd every year.

My buddy and I usually venture out to the ramp by the cinder block building near the top of the hill and have a cigar towards the evening sometime. Let me know.

[jaz4life]

Is there any place that is a nice place to sit and hang out for alittle while? I'm thinking during Richard Bona would probably be a good time for me. Of course since I have never been there I have no idea what the set up is like. I'd love to meet you guys including GoodSpeak, Val & Scott Yanow and whoever else has been a poster on here.

I remember Valerie & Scott from Jazz Central Station and for me that was back in 99'. I am so thankful to Scott for his jazz reviews on the All Music Guide that I still use as part of my buying decisions! The book is pretty tattered by now!

[Mimoody]

Hi. I moved to LA recently and am attending the festival for the first time this weekend (Sunday). Wonder if I could get a couple quick pieces of advice from some veterans:

1) Re: the lineup, am I right to assume that the way it's listed is the reverse of the way it'll go--so Malcolm Jamal-Warner is first up on Sunday, then the day ends (wow!) with Blanchard, Sandoval, Reeves, and Etta James?

2) Re: parking, is there a secret to avoiding hell, like parking in one of the outside lots and taking the shuttle, or parking in a particular spot of the lots? I find in LA that insider knowledge of parking secrets makes all the difference!

Thanks for the help! Can't wait for Sunday...

[Peterdubya]

I can shed no light on the line up order.... but I'd guess that Norman Brown's summer storm will be the last act....

do though, take the shuttle. It's fast easy fun and it's greener than driving.

[GoodSpeak]

Originally Posted by Peterdubya

I can shed no light on the line up order.... but I'd guess that Norman Brown's summer storm will be the last act....

do though, take the shuttle. It's fast easy fun and it's greener than driving.

We usually hail a cab...driving to then parking at the Bowl is crazy nuts.

Besides, we will quaff a few glasses of wine during the day and, well, the DUI laws being what they are , it makes more sense.

As to a place to sit....there is a patio on the ramp side of the Bowl, but you can't see the stage very well. I leave it up to you guys...let me know, OK?

[Scott Yanow]

The key with this festival is not to take it overly seriously. It's a big party and whatever group you are most looking forward to will probably be partly drowned out. Be sure to go with a sense of humor and then it'll be fun.

I haven't seen the order yet and the one that was originally announced is not the actual order. I imagine that the best groups will be in the middle of the day and like Peter says, Sunday will end with the Norman Brown snoozefest.

If some of you are getting together at some point during the day, tell me the time and place and I'll try to be there. I'll be wearing a black hat. These things can be difficult to coordinate so someone name an exact time and location.

It'll be a fun fest. Just come prepared with sunblock, a hat, a jacket, and enough food and drink for an army.

[GoodSpeak]

Originally Posted by Scott Yanow

The key with this festival is not to take it overly seriously. It's a big party and whatever group you are most looking forward to will probably be partly drowned out. Be sure to go with a sense of humor and then it'll be fun.

I haven't seen the order yet and the one that was originally announced is not the actual order. I imagine that the best groups will be in the middle of the day and like Peter says, Sunday will end with the Norman Brown snoozefest.

If some of you are getting together at some point during the day, tell me the time and place and I'll try to be there. I'll be wearing a black hat. These things can be difficult to coordinate so someone name an exact time and location.

It'll be a fun fest. Just come prepared with sunblock, a hat, a jacket, and enough food and drink for an army.

Jaz4life suggested meeting during the Richard Bona set.

How about we all meet at Section M2, Row 22 sometime right after the start of the set?


I'll be wearing a Hawaiian shirt with a broad-brimmed hat

[Mimoody]

Thanks for the help, all. I'm already planning my menu and wine selection and making sure my companion knows they are the designated driver! Cheers.

[Scott Yanow]

Okay, I'll be there, wearing a black hat, shortly after Richard Bona starts on Sunday.

[salexander]

m

[jaz4life]

Hi. Meet you all when Richard Bona starts at Goodspeaks seats on Sunday. I'll b wearing a striped black/tan hat.

[GoodSpeak]

Nice show, both days....and I was able to meet Jaz4life and Scott Yanow [again]. Then, I got the two of them together for a chat.

Jaz4life is one nice Lady and her friend Anita was way cool, too.

Scott, as always, was as graceful as he is kind.


Fun stuff

[jaz4life]

I had a blast. Now I understand what Scott said about it being a party with jazz. Between the bubbles and beach balls and people dancing it was a lively crowd to say the least. It was really nice to finally meet Tim (Goodspeak) and Scott. They both are terrific. I was especially glad to get to hear Kevin Mahogany live since I've never seen him b4. My friend Anita is already talking about going next year. I unfortunately didn't make it down to meet Valerie so hopefully another time. The time went by in the blink of an eye!

[GoodSpeak]

For me, the show stoppers were Buddy Guy, Terrence Blanchard and Etta James [she's lost a ton of weight and looks fantastic]. But I really liked the Randy Brecker-Bill Evans set, Red Halloway and Phil Woods.


We need to make this a regular deal.

[Valerie]

l'm taking the liberty of printing scott yanow's l.a. weekly review which will appear in the july issue:

THE 2007 PLAYBOY JAZZ FESTIVAL

For the 29th straight year, the arrival of June meant that the Playboy Jazz Festival for a weekend would make the historic Hollywood Bowl the temporary home for 18,000partygoers. For many of the regular attendees, it almost does not matter what groups are playing just so long as the party continues. While some of the more serious jazz fans get bothered by the constant crowd noise, the erratic sound (why doesn’t Playboy at this point have superior sound engineers who know what an acoustic bass is?) and the fact that quiet ballads are drowned out, those with a sense of humor and a strong tolerance streak can enjoy a wide variety of music, most of it jazz. This year’s festival, even with its ups and downs, was one of the strongest in years, particularly on Sunday.

Though relatively few saw it, Saturday’s 8 1/2 hour marathon began with one of the highpoints. The Eagle Rock High School Jazz Ensemble, directed by Greg Samuel, featured Tyrie Levels, a talented young trumpeter. He recreated Rex Stewart’s solo on Duke Ellington’s “Boy Meets Horn” (one of the strongest opening numbers ever in Playboy history) and took a fine spot on “All Blues.” Remember his name for the future. Also, it was unusual getting to hear a high school band that included three violins in its instrumentation.

Johnny Polanco Y Su Conjunto Amistad was a definite surprise. Polanco, who alternated between trombone, the tres guitar, vibes and percussion in addition to joining in with the vocalists, mixed together salsa singing with Afro-Cuban jazz in a very effective show. Comprised of two trumpets (including one who screamed out high notes), two trombonists including Arturo Velasco, three saxophonists, flutist Artie Webb, piano, bass, congas, timbales and bongos plus two singers and Polanco, the ensemble lived up to its great potential. “Mambo Inn” and Tito Puente’s “Picadillo” were highlights.

James Carter has long had the ability to play any reed instrument in any style. His trio with organist Gerard Gibbs and drummer Leonard King, was passionate and intense although somewhat limiting, putting Carter much of the time in a soul jazz/hard bop bag. The bad sound (with the bass drum often being louder than the saxophonist) was unfortunate but James Carter took some roaring solos on tenor and sopranino, really digging into John Lewis’ “Rouge.” Still, I’d rather hear Carter with a piano trio so he can really display his versatility.

Carter returned for the next set, a performance by a thrown-together all-star group headed by Playboy’s emcee, Bill Cosby, called the Cos Of Good Music. Trumpeter Jeremy Pelto and altoist Vincent Herring joined Carter along with a rhythm section that included pianist Larry Willis. Cosby’s conducting was a bit ridiculous and the group’s lack of rehearsal resulted in some messy moments but Willis did well on an Ellington ballad, Pelt played beautifully on Billy Strayhorn’s “Blood Count,” Herring created some heated bop lines that uplifted a dull funk pattern, and Carter’s ensemble work was often humorous.

The Randy Brecker-Bill Evans Soulbop Band could be one of the great bands due to the brilliance of trumpeter Brecker and saxophonist Evans. However their set excessively featured the rhythm section, guitarist Hiram Bullock made the mistake of singing, and the funk overwhelmed the jazz.

Musically, the Phil Woods Quintet, with the leader-altoist, trumpeter Brian Lynch, pianist Bill Charlap, bassist Steve Gilmore and drummer Bill Goodwin, was among the finest groups of the weekend. But they essentially served as background music for the partiers, often only inspiring applause from perhaps 18 out of the 18,000 people. Despite being ignored, Woods and particularly Lynch were in excellent form on “All Bird’s Children” and “Bus Stop Serenade,” with the altoist sounding exquisite on his ballad feature, Benny Carter’s “Summer Serenade.”

The jazz festival was nearly finished for the day even though there were still five groups to go. Singer Angelique Kidjo gained praise from many listeners, but since her music is essentially Afropop dance music with touches of African salsa, I’m not qualified to comment.

The Count Basie Orchestra, under the direction of their longtime bass trombonist Bill Hughes, was in better-than-usual form. They came out swinging and never stopped, inspiring some dancers with “Down For The Count,” “’Lil Darling” and “Shiny Stockings.” The orchestra backed singer Melba Joyce on “I’ll Close My Eyes” (the first jazz vocal of the day) and “All Of Me,” and really burned on “Basie” and an extended “One O’Clock Jump” even if it is long overdue to retire “April In Paris.” No more “one more once” please. Tenor-saxophonist Doug Lawrence was the most impressive soloist while drummer Butch Miles was typically exciting.

Cuban singer Issac Delgardo showed potential on one song when his band started out a blues like it was dixieland and later added rock and roll in a surprising mix. Otherwise his excellent 11-piece band (four brass, one sax, two keyboards, bass and three percussionists) was mostly confined to accompanying rhythmically interesting but ultimately repetitious and dull salsa vocals. The audience did enjoy dancing to this group.

The lowpoint to this year’s festival had to be Chris Botti. Botti has a nice tone on the trumpet and excellent technique but he alternates between treating every note in the melodies of ballads as if they are precious and jamming over mindless funk rhythms. Although guitarist Mark Whitfield did what he could and Botti’s band was fine, the constant posing by Botti was very difficult to sit through. He is to the jazz trumpet what Rod Stewart is to jazz singing.

But Saturday ended up on a much higher level with the performance by veteran bluesman Buddy Guy. Guy, who took consistently explosive guitar solos, was often very funny in his singing and talking to the audience, and it was a pleasure to watch a true master at work. Whether singing humorous stanzas to “Hootchie Cootchie Man,” screaming “Damn Right I’ve Got The Blues” or playing a long minor blues while out in the audience, he was entertaining, creative and quite fun.

Sunday’s program, other than a weak start and a tedious finale, was mostly very rewarding. Malcolm-Jamal Warner, who played one of the Cosby kids in the Bill Cosby Show, is a fine bassist but thinks he is a spoken word artist. While his band Miles Long is excellent and includes a powerful saxophonist in Darren Gholston, Warner’s angry talking/shouting/rapping was jarring and very out-of-place, rapping about the low quality of current rappers as if that is relevant.

Things greatly improved with pianist Taylor Eigsti’s Quartet. Eigsti and guitarist Julian Lage worked together very well, assisted by bassist Reuben Rogers and drummer Eric Harland. “Love For Sale,” a complex reworking of “Caravan” and Bjork’s “I’ve Sent It All” (taken as a sensitive ballad) were among the songs that they explored.

Nathan and the Zydeco Cha Chas, with Nathan Williams on accordion and vocals and Mark Williams on rubboard, performed blues, blues ballads and a lengthy one-chord romp that had many dancing to the infectious music. Zydeco is always quite fun to see live.

Arguably the highpoint of the date was a set by the great tenor and alto-saxophonist Red Holloway. With fine work from a returning Taylor Eigsti, bassist Richard Reid and drummer Gerryck King, Holloway was roaring from the start, grabbing on to the audience with a hard-charging version of Blue Mitchell’s “Fungii Mama,” digging into “You’ve Changed” and romping on “The Way You Look Tonight.” Kevin Mahogany joined up (with pianist Doug Bickel replacing Eigsti) and was in better-than-usual form. His vocalizing on “Times Are Getting Tougher,” “Yardbird Suite” and “Route 66” contained some virtuosic scat singing. Holloway’s interaction with the singer was quite exciting. It was a great hour that was celebrated Red Holloway’s 80th birthday although that event was never announced.

Bassist-singer Richard Bona followed with an intriguing performance that included his quiet African pop singing but also Afro-Cuban jazz and fine solos including from trumpeter Taylor Haskins and Bona. The wide-ranging repertoire kept one constantly guessing what was going to happen next.

Trumpeter Terence Blanchard’s quintet with the passionate saxophonist Brice Winston, pianist Fabian Almazan, bassist Derrick Hodge and drummer Kendrick Scott, mostly played themes that were written for the Spike Lee New Orleans Katrina documentary When The Levees Broke. Melancholy themes alternated with ecstatic solos. When the performance ended, the ever-alert Bill Cosby announced that we had just listened to Nicholas Payton, and he repeated that mistake three times.

Marcus Miller’s band displayed a lot of potential, featuring trumpeter Patches Stewart (who has greatly widened his range during the past few years), altoist Keith Anderson and Gregoire Maret on harmonica. Most of the music was funk-oriented and there were a few too many electric bass solos from Miller, but his spot on bass clarinet on “When I Fall In Love” worked well and the band really caught fire during their rendition of the Beatles’ “Come Together.” Hundreds if not thousands of partiers spontaneously started to dance and Miller wisely kept the song going as long as possible, featuring plenty of explosive ensembles from the unusual frontline.

Miller would be a tough act to follow, but Dianne Reeves wisely emphasized funky rhythms during her first couple of numbers, holding on to most of the audience. Her set, which included “One For The Road” and a swinging “Social Call,” eventually slipped into autobiographical r&b/folk and got corny with “Just My Imagination” but no one can musically introduce a band like she can. And when she sings jazz, few can compete with Dianne Reeves.

One of the most enjoyable performances of the weekend was the debut of Arturo Sandoval’s Mambo Mania Big Band. Emphasizing 1950s mambos including pieces made famous by Perez Prado, Sandoval was very much in his element, playing completely impossible trumpet solos and outbursts on timbales while leading a raging big band. On one song, Sandoval took a trumpet break that started on his highest screaming note, gradually working his way down. His trumpet section, which included Wayne Bergeron on lead, powered the ensembles and two colorful couples performed some impressive dance numbers onstage. Ed Calle took some heated tenor solos, such songs as “Cherry Pink And Apple Blossom White,” “Mam Bop,” “How Good Is Mambo” and “Mambo Caliente” were performed, and Arturo’s occasional vocal breaks were hilarious. It seemed as if the entire audience at the Hollywood Bowl was dancing and this set could have continued for hours.

Next, Etta James surprised many of her fans by now being about 1/3 the size that she was a few years ago. Instead of finding it difficult to walk as had been true earlier, she prowled the stage confidently and belted out songs with her familiar voice. Her self-groping and single entendre songs can be a bit over-the-top, but when she sang “At Last,” it was difficult not to cheer. Other numbers included “I’d Rather Be A Blind Girl,” “A Lover Is Forever,” “They Don’t Know What Love Is” and “Feel Like Sugar On The Floor.”

Guitarist Norman Brown’s Summer Storm was scheduled last, and few in the audience felt the slightest bit guilty leaving during his lightweight show. Brown was particularly hyper and gave it his all, but the smooth pop music was not worth it. Marion Meadows sounded as weak as ever on soprano and Peabo Bryson, despite displaying strong vocal chops, mostly sang about corny trivialities.

But overall it was a very enjoyable weekend, one of the best Playboy Jazz Festivals in a decade.

[GoodSpeak]

Thanks for posting that, Valerie...up my way we don't get LA publications beyond the Times.


And Scott...as per always, another excellent review.