UCLA No. 1 Big Band and Co. Follow the Lesson Plan Well

Can the street-smart emotional content and improvisational abandon central to the craft of jazz be learned in the laboratory setting of the college band room? The UCLA Jazz Studies Program, in the middle of its inaugural year, emphatically answered yes Friday at Veterans Wadsworth Theater with a night of music from its students, distinguished faculty and one well-known guest lecturer.

The proof, and the highlight of the three-hour fund-raiser, came when Herbie Hancock--who had just spent two weeks guest-lecturing--joined the 19-piece UCLA No. 1 Big Band to play a pair of his own compositions, the popular “Dolphin Dance” and the ambitious, less familiar “Darts,” which, Hancock announced, he last played 17 years ago.

Directed by trombonist-instructor Garnett Brown, the big band backed the pianist with tight rhythm-section and brass play while matching his sweepingly daring solos with inspired improvisations of its own. The sold-out crowd greeted each effort with enthusiastic shouts and applause.

Before playing with the students, Hancock seemed less inspired. His solo number “Chan’s Piece” opened with interesting percussive effects that he generated by going inside the piano box and plucking the strings directly, but the long piece proved slow to develop. And he stepped all over guitarist Kenny Burrell during their duo version of “In a Sentimental Mood” before they finally found common ground on the last chorus.

Hancock wasn’t the only one giving the student musicians something to think about. Jazz Studies Program director Burrell has chosen a cadre of jazz professionals to be on his faculty, and their group performances set high standards of achievement.

The front line--trumpeter Oscar Brashear, saxophonist Harold Land and trombonist Brown--used Land’s “Dark Mood” and a John Coltrane arrangement of “If Not for Me” to demonstrate how character and individuality can be brought to improvisation. Pianist Billy Childs, bassist Roberto Miranda and drummer Billy Higgins gave lessons on interplay and swing.

The school’s seven-piece No. 1 Jazz Combo, led by saxophonist David Borgo, underscored the program’s emphasis on composing with a trio of inventive, thoroughly modern pieces. The big band, under Gerald Wilson’s energetic direction, showed its command of Count Basie-styled swing, ballad and Latin tempos. Superior marks were earned all around.