Concert Review

Concert Review

Los Lobos unplugs for most of Lied concert

By Tom Ineck

LINCOLN, Neb.—As though a concession to the high-brow confines of the Lied Center for Performing Arts, the ordinarily rockin’ Americana of Los Lobos was somewhat more subdued in the band’s Oct. 30 appearance. After more than 30 years of recording and performing on the road, they have plenty of material for any occasion, so the largely unplugged, folk-heavy choice of tunes was actually a welcomed contrast.

The 90-minute, two-part program drew from the entire Los Lobos catalog and featured everyone in the band, beginning with a set of Spanish-languish songs played on traditional Mexican instruments and including the title track from the band’s 1988 release, “La Pistola y el Corazon,” with Steve Berlin on tenor sax.

Louie Perez sang “Saint Behind the Glass,” from 1992’s “Kiko,” and Cesar Rosas delivered a heartfelt version of “Maricela” from “Colossal Head,” the band’s 1994 release. David Hidalgo showed his versatility, moving easily from accordion to various acoustic and electric guitars. Especially enjoyable was a fine treatment of the familiar Cuban folk song “Guantanamera,” which appeared on the very first Los Lobos release in 1978. Bassist Conrad Lozano handled the vocals and Berlin switched to flute.

Opening the second half, the band dipped into its latest CD, “Los Lobos Goes Disney,” for “I Wanna Be Like You (The Monkey Song),” from the animated film adaptation of “The Jungle Book.” Yet another acoustic performance, this one featured Berlin on baritone sax. From their own extensive songbook came excellent versions of “Just a Matter of Time,” “One Time One Night” and “Kiko and the Lavender Moon.”

The night would not have been complete without “La Bamba,” the only tune that has come close to hit status for Los Lobos. Never satisfied with a conventional take, they worked variations that included a long quote from The Rascals’ “Good Lovin’” and infused the well-worn song with new energy.

The 15-minute encore alone was worth the price of admission. Beginning with the rockin’ rave-up “I Got Loaded,” it segued into the classic Buddy Holly tune “Not Fade Away,” with a heavy emphasis on the infectious Bo Diddley beat. With Hidalgo, Rosas and Perez wailing on guitars, it expanded into a full-blown Grateful Dead jam. It was a grand finale worthy of the Los Lobos tradition. 

Concert Review

Bergeron doubles the pleasure at NJO concert

LINCOLN, Neb.—An audience of 400 got a two-for-one deal Oct. 29 at The Cornhusker hotel when featured trumpeter Wayne Bergeron brought along a “stunt double” to handle the high-note duties as guest soloist with the Nebraska Jazz Orchestra.

Still nursing a recent lip injury, the Lost Angeles-based Bergeron enlisted former student Willie Murillo, a 10-year veteran of the swinging Brian Setzer Orchestra. Meanwhile, Bergeron conducted the NJO and entertained the crowd with one-liners, inside jokes and general hilarity.

The kick-off concert of the NJO’s 34^th year began with several tunes featuring young trombonist Karl Lyden, winner of the NJO’s 2009 Young Jazz Artist Award, including the standard “Spring Is Here,” John Coltrane’s fast blues “Locomotion” and the Eric Richards samba “Noite de Tempestade (Evening Storm).”

The 16-piece NJO also ran through two typically difficult compositions by Rex Cadwallader, “Year of the Frog” and “Tactical Practicality,” which gave everyone a chance to work out, including another guest artist, Doug Hinrichs, on congas.

But Bergeron and Murillo were the night’s winning combination. Murillo immediately proved his chops with “Friend Like Me,” from the Disney movie “Aladdin,” a high-note extravaganza originally arranged for Arturo Sandoval. Bergeron briefly played the melody of a Tom Kubis tune written for him, the cleverly titled “High Clouds and a Good Chance of Wayne Tonight.”

A Kubis arrangement of the ballad standard “You Go to My Head” allowed Bergeron to play the melody on flugelhorn before turning to Murillo, who delivered a piercing solo with the sax section.

Other favorites included a wonderful arrangement of “Besame Mucho” and an odd “Waltz of the Flowers.”

Concert Review

Winston brings "rural folk piano" style to Lied

Colorado Correspondent

Summit Jazz Festival swings in trad style

DENVER—Early October found us in Denver to attend another Summit Jazz Festival. Traditionally, these start on Friday evening with the finale on Sunday, and traditional as well is the style of jazz focused on for this event. There was the usual mix of name artists spotlighted for their solo efforts, along with some ensembles.

In no particular order, the name players would include cornetist Duke Heitger, pianist and vocalist Jeff Barnhart (who also fronts the Ivory and Gold Trio) , drummer Joe Ascione, Jerry Krahn on guitar, bassist Paul Keller and Anat Cohen, known for her outstanding work on the clarinet but also capably doubling on tenor sax. The bands included the Jim Cullum group of San Antonio’s Riverwalk fame, the Ivory and Gold Trio, the Titan Hot Seven out of Nashville, and the Toronto-based Climax Jazz Band, a personal favorite (more on that later).

The Denver area contributed the Alan Frederickson Jazz Ensemble, led by the gentleman of the same name, who also co-produces this event. Featured also were two local bands who painted some numbers in an excellent frame. Both the University of Colorado at Denver "Claim Jumpers" and the "Jazz Cookers" put on outstanding shows. The latter is a group of young musicians most of whom were classmates in a high school group and have continued to play together. Thankfully, youth groups continue to be an important mainstay at most festivals.

As expected, there was a polished performance by the Jim Cullum Jazz Band. A very knowledgeable friend in attendance, who has seen them before, expressed an opinion prior to their performance that they were almost too polished—no mistakes and very little improvisation. I found this to be an astute observation, akin to hearing the released cut on a recording, and one might surmise Cullum's purpose is to authentically recreate the older numbers as a rehearsed band would have played them in their day. Give them credit that they do not focus on the same time-worn songs in which other Dixie or trad groups often tend to immerse themselves.  

Anat Cohen's promo notes she is "idiomatically conversant with both modern and traditional jazz...." and having heard her perform in both environments it is certainly true (even if couched in language a bit highbrow for this old lowbrow). Her great talent belies her sometimes rather stiff stage presence and I guess that’s what it is really all about.

One could certainly put Jeff Barnhart at the opposite end of that spectrum; at times allowing the exuberant persona to almost overshadow the excellent technical skills. Bassist Keller is not only extremely proficient but adds humorous banter perfectly timed. Krahn's playing and demeanor remind me of Bucky Pizzarelli—not ostentatious, just great.

Heitger definitely lives up to his reputation for diversity, blowing both hot and cool numbers equally well. Further notes would have to include Ascione, who continues to courageously battle MS and yet performs flawlessly on any number called, an astute timekeeper who can also light 'em up when needed.

The Climax Jazz Band uses a free-swinging, hard-driving approach, with improvisation definitely allowed and a great stage presence with a dose of British humor thrown in. We had the opportunity of enjoying a libation or two with some of the members in the hotel bar (not sure how that always seems to happen!) and were regaled with a few jokes and stories. Can you top this? Oscar Peterson politely asked if it was OK to sit in with them at a performance in Canada! The Titan Hot Seven (the “hot” aptly applied) feature some of the above artists, such as Barnhart and Krahn, as well as drummer Danny Coots providing inspiration.

A tip of the hat goes to all of the above musicians, who also perform well in other styles of jazz. The focus of this event just happened to be traditional.

The entire event is well run and for that, credit rightfully goes to Juanita Greenwood and partner Alan Frederickson, who have been involved in producing these for 30 years. Juanita is very adept at recruiting volunteers to aid in the production and adds a personal touch in assisting attendees in any way. To persevere that long in any business means you have to be doing something right!