Serious Music-Making in the Midst of All the Partying

At the center of the second day of the Playboy Jazz Festival Sunday at the Hollywood Bowl, somewhere between the day’s opening set from a famous actor who plays piano and end-of-the-day sets from a pair of R&B; icons and a pop instrumentalist, was a serious jazz festival, one that took the focus off the party and placed it squarely on the music.

For some five hours during the afternoon and early evening, six consecutive bands explored mainstream, Latin and futuristic jazz while paying tribute to Duke Ellington, Nat and Cannonball Adderley, Jimmie Lunceford and, above all, their musical craft. Not until dusk, when the Bowl’s revolving stage turned to reveal rhythm & blues legend Etta James enthroned in front of an eight-piece band, did the aisle dancing, hankie waving and general merrymaking so prevalent in the festival’s 21-year history begin.

That those five hours were well-received by the capacity crowd, even as they remained in their seats, demonstrated that Playboy can mount a lineup without the usual sprinkling of pop and novelty acts and still keep its audience. That the Bowl was sold out even though a number of the bands have made local club appearances in the last few months (Chick Corea’s Origin, the Terence Blanchard Group) or are fixtures of the local scene (the Gerald Wilson Orchestra, guitarist Kenny Burrell, actor-pianist Jeff Goldblum’s Mildred Snitzer Orchestra) suggests that no matter whom Playboy books, the fans will come.

Sunday was a day of salutes and tributes. The most moving of these honored brothers Nat Adderley and the late Julian “Cannonball” Adderley with a lively set of jazz-funk from a group including veterans of their respective bands. Coordinated by Nat Adderley Jr., the set featured stimulating alto play, if not exactly soulful in the Cannonball style, from Vincent Herring.

Trumpeter Longineu Parsons, bassist Walter Booker, drummer Roy McCurdy, percussionist Airto Moreira and pianists George Duke and Michael Wolff all provided robust moments as they recalled “Work Song,” “Jive Samba” and others associated with the Adderleys. Vocalist Nancy Wilson, who recorded with Cannonball in the early ‘60s, came out to do a pair of numbers with the band.

The day’s emotional high point came when Nat Adderley, the composer of both of those tunes, was brought out in a wheelchair to a standing ovation.

Trumpeter-film composer Blanchard’s quintet added alto saxophonist Gary Bartz to play from Blanchard’s recent collection of movie music. While Bartz’s alto added polish to Quincy Jones’ theme to “The Pawnbroker” and others, it was young tenor saxophonist Mark Shim who provided the set’s most exciting moments. Pianist Ed Simon made an appropriately grand and weighty solo statement on Duke Ellington’s theme to “Anatomy of a Murder.”

Pianist Corea, who dedicated his set to Ellington, looked to the future with his sextet, performing ambitious originals and a thoroughly modern version of the standard “It Could Happen to You.” Impressive improvisations and attractively arranged ensemble play came from Corea’s front line of tromboninst Steve Davis and saxophonist-flutists Bob Sheppard and Steve Wilson. Corea’s inquisitive style seemed to bore its way into each tune, and the keyboardist even took a turn at marimba during a blues-based number.

Percussionist Ray Barretto and guitarist Burrell also paid homage to Ellington with a spirited performance of Duke’s “Come Sunday” that featured Burrell’s sharp chording against the percussionist’s rippling conga work. The two were less effective as they imposed a salsa beat on Ellington’s “Things Ain’t What They Used to Be.”

Composer-orchestra leader Wilson’s lush “Theme for Monterey,” heard a number of times around town in the last two years, seemed especially appropriate here. Wilson’s tribute to bandleader Lunceford rang with authenticity. (Wilson was a trumpeter in Lunceford’s band nearly 60 years ago.) He was joined by trumpeter Snooky Young, also a veteran of Lunceford’s trumpet section, to sing the ‘40s pop hit “Margie.” In a show of the cross-generational appeal of jazz, Wilson brought out drummer and Locke High School senior Ron Bruner Jr. to join the orchestra in its final number.

Percussionist Pete Escovedo made it a family affair by including two sons and daughter Sheila E. in his brassy 10-piece ensemble. Goldblum, accompanying the Mildred Snitzer Orchestra, did little to disgrace himself, nor did he solo, while playing tunes from Dexter Gordon, Thelonious Monk and Oliver Nelson (the band plays weekly at a Hollywood club). If Harry Connick can make movies, why can’t Goldblum play piano?

The day’s closing headliners were musical disappointments. James, who never left her seat, was missing her prior infectious energy and vocal range. Smooth jazz saxophonist Boney James, though wildly received, was content to groove and mug. Even Ray Charles seemed flat and off his game, a case of genius and soul not equaling the jazz that preceded it.