*The fifth Leimert Park Jazz Festival in Los Angeles on Saturday, August 31 contributed a scintillating balance of veteran and fiery up-and-coming talent to a Clear, warm, and breezy afternoon.
Hosted by KKJZ Jazz and Latin Jazz expert Jose’ Rizo, the free neighborhood event was a welcome breath of vibrant air for the art form which is seeing a resurgence of interest from younger audiences. A chill, mature, and grateful crowd peacefully marinated in the musical vibrations alongside their cultural cuisine and refreshing libations.
Kicking things off was longtime local music educator Fernando Pullum’s Community Arts Center Jazz Band comprised of some of the city’s finest young players. The first four numbers found the ensemble focused squarely on the music of jazz trumpet legend Freddie Hubbard featuring special guest local luminary Noland Shaheed. With charts that were in no ways simplified for novices, the group offered up explosive renditions of “Sky Dive,” “Red Clay,” Little Sunflower” and the rarely heard “Gibraltar,” the latter featuring the intricate drumming cadences of Micah Heard.
For the second half of their set, Pullum’s group turned to more contemporary numbers from the songbook of the group Ghost-Note. First was the super funky “Swagism” featuring a fierce sax solo by Christoper Adeniji and a guitar solo by Joaquin Garde that built from a whisper of the blues to some screamin’ rock. Next was the feel-good breeze of “Move with a Purpose,” the tight dynamics of “Origins” and the seriously killin’ “Pacemaker” which was loaded with intricacies in its composition and arrangement. As an encore reward, the young group proudly closed with a nod to rapper Kendrick Lamar’s currently inescapable “They Not Like Us!”
Los Angeles Mayor Karen Bass surprised the legions, taking the stage to praise festival founder and Executive Producer Diane Robertson for consistently elevating the level of the festivities with each year’s growth. She also emphasized voter registration for both local and national representation of people of color.
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Next, trumpeter Gilbert Castellanos Quintet powered mightily through a set that kicked off with his hard groovin’ original composition “Theme for Mariana,” followed by a lazy New Orleans swing through Hank Mobley’s “Soul Stations.” Then “Melody for G.C.” (a band originally dedicated to its leader) was highlighted by an unaccompanied piano solo midway by Joshua White that was quite an aural journey of styles, followed by a drum solo to match by Tyler Kreutel. Tipping their hats to L.A. Jazz history, the band next played Lee Morgan’s “Mr. Kenyatta” and dedicated it to drummer Billy Higgins who founded Leimert Park’s enduring jazz room The World Stage. Castellanos closed the set with a ferocious version of Freddie Hubbard’s “The Intrepid Fox” for an emphatic finish.
Saxophonist Chris Powe (pronounced ‘poe’) showcased no less than three different bands, giving the audience a colorful peek at many of the young musicians that graced ORA Cafe’ during his recent 4-month residency for its regular open mic sessions. While his originals and a Wayne Shorter composition prominently featured young talent such as drummer Wayne Matthews, guitarist Oliver Adelman, bassist Isaac Green, and pianist Veritas Miller – among others all teenagers – this writer was most impressed by a piano solo taken by 14-year-old Che-Tafari on Herbie Hancock’s “Maiden Voyage.” His richly emotive solo sensitively took in the feeling of the moment under the breezy open skies, the expansiveness of Hancock’s timeless chord progressions, and the gentle support of the group with a class many would swear was beyond his years. This young man is turning heads with all looking forward to great things in the very near future.
Local Latin Jazz winds great Justo Almario who has worked as a leader, a sideman, and an educator in all styles of Jazz since his mid-`70s days with Roy Ayers, lasered in on his Colombian roots with a set that was as passionate and colorful as it was multi-dimensional. Blending Jazz with folk music from his culture, Justo’s presentation incorporated native dance and wardrobe via male and female group members spanning three generations. Unique from the rest of the concerts given this day, Almario delivered South American musical influence upon the festivities that commanded attention that will not be forgotten.
Next up, pianist Billy Childs, a prolific and tireless source of pride from the Los Angeles scene since the `70s, led his trio of drummer Christian Euman and bassist Dan Chmielinski through a masterful set of modern jazz. The first three were Childs originals “Backwards Bop,” “End of Innocence” and “Great Western Loop,” all rendered with the synchronicity of players that have reached the rarified realm where rehearsal plus intuition equals free-flowing excellence. Childs closed with nods to two of his greatest jazz piano giants, Horace Silver (“Peace”) and McCoy Tyner (“Four By Five”).
All too soon, the time arrived for headliner Stanley Jordan, the electric guitar hero who since 1985 has brought virtuosic and singular rock star guitar bravado to an array of music that moves from gentle introspective healing to hard-swinging jazz tradition to unadulterated rock pyrotechnics. Dressed in a white shirt and faded blue jeans, Stanley opened strong with his cover of a soul-pop classic penned by the late great Rod Temperton for ‘King of Pop’ Michael Jackson, “The Lady in My Life,” which he, in turn, made among the biggest radio hits of Contemporary Jazz/Quiet Storm crossover from his debut LP, Magic Touch. Giving the song an edgier energy as the show opener yet still with romantic melodic swagger, Jordan introduced himself with everything to snatch the attention completely to the stage. He followed with a solo guitar expedition that led into the swing of Charlie Parker’s “Now’s the Time” which assured all that straight-ahead jazz was also indeed on the menu.
Jordan additionally showcased his uncanny approach to playing guitar and piano simultaneously with a heart-stilling version of the dreamy classic film score ballad “Invitation.” He followed that with Jimi Hendrix’s “Angel,” singing, playing, and bringing back bassist Sezin Ahmet and drummer Chris Wabich to the stage in power trio mode. Revisiting the quiet, Stanley played his delicate original “All the Children,” the song he made his TV debut with on “The Merv Griffin Show” so many years ago, premiering his unique string-tapping technique. For the big finish, Stanley rocked out on back-to-back versions of The Beatles’ “Eleanor Rigby” and Led Zeppelin’s “Stairway to Heaven” – an ironic yet virtuosic conclusion for the Jazz festival.
The Leimert Park Jazz Festival grows by leaps and bounds every year. This writer is already eagerly awaiting what will be in store right here in the old neighborhood – as played by legends and future legends.
A. Scott Galloway (Review and Photographs)
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