Jazz : Masekela Septet Gives a Stirring End to Series

The short jazz series at the Dorothy Chandler Pavilion ended Friday on a dramatic note with a stirring performance by Hugh Masekela’s septet.

Playing fluegelhorn and cornet, the South African soloist also sang in his gruffly appealing voice and gave generous space to his sidemen, some of whom were heard on his “Uptownship” album.

Variously described as performing jazz-funk, high-life Afro-beat and township bop, Masekela’s current group mixes elements from his previous bands, with some valid jazz as well as African and calypso touches.

Sharing the front line on alto sax was Morris Goldberg from Cape Town. He and the Nigerian percussionist Remi Kabaka, with Richard Cummings on keyboards, helped the group coalesce into a valid unit.

As the set reached its “Home to Soweto” climax, part of the crowd stood, clapped and cheered. Masekela encored with an impassioned statement about conditions for blacks in South Africa.

Earlier, Teddy Edwards, long a Southland staple, led his sextet on tenor sax and showcased his own attractive melodies and lyrics, with trumpeter Conte Candoli and trombonist Jimmy Cleveland sharing a strong front line.

Edwards introduced Lisa Nobumoto, a striking singer who turns what could be a negative--her slightly harsh and nasal sound--into a personal plus. Nobumoto’s distinctive phrasing and timbre could earn her a significant role on the upcoming vocal scene.

In a strange error of judgment, the L.A. Jazz Choir opened the show. The 12 singers blend well, for which director Gerald Eskelin deserves credit. However, the arrangements are corny to the Nth degree (N standing for Nothing New), and the choreography was laughable. To paraphrase a famous denial: If this choir represents jazz in 1991, then grits ain’t groceries, eggs ain’t poultry, and Mona Lisa was a man.