JAZZ REVIEW : ‘Jazz Pilgrimage ‘95’ in the Spirit of Be-Bop

A series of spirited displays by Bill Holman, Teddy Edwards, Supersax and Buddy Collette were the focus of the lengthy “Jazz Pilgrimage ‘95” Sunday at the John Anson Ford Amphitheatre. The concert was a celebration of the era from 1945 to 1955 when be-bop reigned in Hollywood.

Holman’s orchestra opened the affair with his invigorating composition, “The ‘40s: Swing to Bebop.” In the 40-minute set, Holman seamlessly stitched together such classics as “Perdido,” “The Chase” and “ ‘Round Midnight,” interspersing them with deft interludes.

A typical segue found the galloping “Undecided,” where trumpeter Bob Summers offered a crackling solo, slowed to a stop, and emerged playing “I’m Just a Lucky So and So,” with Bob Enevoldsen providing fat, round and bubbled notes on his valve trombone. The work climaxed with the sax section--Pete Christlieb, Tom Peterson, Ray Hermann, Bill Perkins and Lee Callett--all improvising on “The Chase,” creating a raucous wall of sound.

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Saxophonist Edwards next led a strong quintet that explored tunes associated with Charlie Parker, who lived in California from late 1945 to early 1947, and Dizzy Gillespie. Gillespie’s “Bebop” and “Groovin’ High” were given exhilarating rides, as Edwards’ rollicking, jack-rabbit-fast bursts and soulful blues essences contrasted nicely with trumpeter Steve Huffsteter’s sweet sound and poised, be-bop lines. Pianist Art Hillery’s accompaniment and spare, purposeful soloing stood out.

Supersax, the outfit led by altoist Med Flory, explored tunes mainly recorded while Parker was living here. The set was highlighted by the stunningly fast “Ko Ko,” where Ray Reed and Jay Migliori issued steaming lines; a wonderfully relaxed “Lady Be Good” and “Lover Man.” Trumpeter Karl Saunders also added telling solos.

Reed artist Buddy Collette’s septet closed the show with three works, including an exotic slow original that showcased his flavorful flute and Bill Green’s deep and elastic tenor tones, and “April Skies,” a 1949 refurbishing of “I’ll Remember April.” The latter gave the concert a robust and authentic conclusion.