"A Swingin' Affair" Outshines Its Name
Saturday's wake-up film, "Sinatra Rarities," encompassed a number of film and television appearances by Ol' Blue Eyes including his earnest plea for tolerance from the World War II years, "The House I Live In." The film clips preceded an early (eleven o'clock) poolside concert by the dynamic Citrus College Swing Orchestra from Glendora, CA, ably directed by Robert Slack (who cut them none). This was, to phrase it concisely, one tight and swinging ensemble, from its exhilarating opener, "Strike Up the Band," through the heated finale, Emil Richards' rapid-fire arrangement of the "Flintsones" theme, spotlighting the band's splendid young vibraphonist, Sarah Lindsay. The CC ensemble also boasted one of the weekend's standout vocalists in David Damiani who shined on the Sinatra staples "Come Fly with Me," "Where or When" and "Fly Me to the Moon." Completing the set were persuasive readings of "Moten Swing," the venerable "Stardust" (with Slack on trumpet) and Gordon Goodwin's funky "Act Your Age." Citrus College is without doubt one of the better college bands we've seen and heard at an LAJI event.
Back indoors (the weather had been mild and windy the first three days), it was time for some serious fun as sharp-witted, silver-tongued octogenarian Med Flory led his irrepressible Jazz Wave Big Band and SuperSax onstage for an invigorating performance punctuated by Flory's inimitable ripostes and one-liners. After opening with the "Jazz Wave" theme, the ensemble dove headlong into Johnny Mandel's "Let's Play a Little Wake-Up Music" and Lanny Morgan's barn-burning feature, "It's You or No One." Pianist Tom Ranier was center stage on Bronislau Kaper's "Invitation," tenor Pete Christlieb on "Swingtown," trumpeter Carl Saunders on Flory's "Tempi." SuperSax was next up, wailing exuberantly through Charlie Parker's memorable solos on "Ko-Ko" (a.k.a "Cherokee"), "Just Friends" and "K.C. Blues." Besides Flory, Morgan and Christlieb, the section included tenor Kevin Garren and baritone Adam Schroeder. The Jazz Wave closed the swashbuckling session with Flory's evocative "One for Woody" featuring trumpeter Ron Stout.
Even though there was scarcely enough time to draw a deep breath before the next concert, it was one that few in the audience wanted to miss, as it showcased an exciting band led by one of the world's leading jazz trombonists, Bill Watrous. Composer / arranger Kubis (who would lead his own band on Sunday) was heard from often, thanks to three sparkling originals, "Before You Left," "It Was Change" (based on "There'll Be Some Changes Made") and "It'll Count If It Goes" (from the album Space Available). The band also weighed in with Sammy Nestico's medium blues, "Low Life," "The E.J. Express" (written for Earvin "Magic" Johnson) and Watrous' trombone feature, Johnny Mandel's "Emily." Besides Watrous, the sturdy soloists included trumpeters Stout and Steve Huffsteter, trombonists McChesney and Morillas, soprano saxophonist Phil Feathe}, tenor Glen Berger and pianist Proulx. As my face and left leg were becoming sore from smiling and tapping my foot, I stepped outside as Watrous counted off the final number, Gordon Goodwin's "Mama Llama Samba." When I returned to the Ballroom about twenty minutes or so later, the band was still roaring along, well into the next event, Panel No. 3, on which Watrous was to appear with Flory, Saunders and moderator Larry Hathaway.
The panel offered a welcome respite, as there were two more concerts before suppertime, followed by a memorial tribute to the great saxophonist Bud Shank, and yet another performance (two sets!) by Patrick Williams and the Los Angeles Jazz Orchestra playing music associated with Sinatra. Taking its place in the batter's box at four o'clock was Saunders' formidable Bebop Big Band, which stood the audience on its head at the outset with a blazing rendition of "Dearly Beloved" (solos to match by Saunders and pianist John Campbell). Trombonist Whitfield and trumpeter Summers were out front on "A Little Behind," alto Scanlon and trumpeter Stout on Saunders' "Never Always." Saunders unfurled another of his superhuman solos on Ellington's "In a Sentimental Mood" (even when I see him with my own eyes, I still can't believe it), preceding "Two Bass Hit" (melody courtesy of bass clarinetist Bob Efford) and Herbie Phillips' "Cotton Mouth." Trombonists Whitfield and Martin traded sizzling volleys on the aptly named "Some Bones of Contention," and the band sewed up the splendid performance with Phillips' seductive arrangement of "Invitation," featuring Martin, Scanlon and Saunders.