Jazz Plans Look Solid Amid Philharmonic Turmoil

The dispute over the alleged resignation of Willem Wijnbergen from the post of L.A. Philharmonic managing director is bound to bring a moment of apprehension to fans who have anticipated his affection for jazz to have a beneficial effect upon the music’s presence in the Southland. But, although the circumstances surrounding the Wijnbergen dispute are still somewhat unclear, the status of the Philharmonic’s jazz initiative appears to remain solid.

“The bad news is that Willem’s gone,” explained bassist-composer-bandleader John Clayton, the Philharmonic’s artistic director of jazz. “The good news is that he set the operation up so that it could practically run itself. I’ve been told that the board is 100% behind everything they have set up with regard to the jazz program--that there won’t be a hiccup that will change anything.”

Clayton further noted that he is planning future jazz events on a “three-tier” basis in which the programming will begin this year with an introduction to the Clayton-Hamilton Orchestra with guest stars, then move in the second year to seek out connections between jazz and other forms of world music, and add more “offbeat” kinds of events in the third year.

At the moment, however, the only programming actually announced has been the eight jazz concerts at the Hollywood Bowl this summer that will employ the Clayton-Hamilton Jazz Orchestra as the resident jazz ensemble. And that programming, which kicks off July 7 with a concert featuring singer Diana Krall, will continue on schedule.

* The Clayton-Hamilton Orchestra can also be heard on Sunday at 4 p.m. in a free concert at the Knox Presbyterian Church, 5860 La Tijera Blvd. Information: (323) 850-2000.

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Torme at the Movies: The release this week of “Mel Torme at the Movies” by Turner Classic Movies/Rhino Movies Music may seem to be a quick attempt to benefit from the veteran singer’s death last week. But not so. The 20-track collection has long been in the planning stages, and its availability at a time when interest in Torme is peaking is nothing more than an unexpected bit of synchronicity.

The recording’s enormous range of selections--starting with “Mrs. Whiffen,” an outtake from “Higher & Higher” (1943), and ending with the previously unreleased “Live Alone and Like It,” from “Dick Tracy” (1990)--provides a fascinating overview of Torme’s impressive history as both an entertainer and a singer. Some of the finest tracks (and the ones clearly delineating his image as the “Velvet Fog”) trace to a set of five songs (including outtakes) from “Good News” (1947)--especially the sweetly lyrical “The Best Things in Life Are Free.”

There’s also a rendering of his signature tune, “Blue Moon,” from “Words and Music” (1948) as well as more tinged renderings of film tunes--”Love Is Just Around the Corner,” “On Green Dolphin Street,” “The Lady’s in Love With You”--recorded by Torme in both studio and live settings. Obviously the first of many Torme collections that will arrive in coming months, this is a good one, a vital acquisition for his many fans.

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Jazz Awards: The Jazz Journalists Assn.’s second annual Jazz Awards Show on Monday in New York City was a capacity event with an all-star turnout. Among the featured presenters and performers were Terence Blanchard, Wayne Shorter, Kenny Garrett, Herbie Hancock, Joe Zawinul, Lou Donaldson, the Brecker Brothers and dozens of others.

The pattern of the awards was intriguing, a clear indication that a new generation of artists is beginning to reach the top level of visibility. Significant younger winners in their categories included Garrett, alto saxophone; four-award winner Dave Douglas, trumpet (he was also named composer, musician and innovator of the year); Joe Lovano, tenor saxophone; Regina Carter, violin; Bill Frisell, guitar; Steve Turre, trombone; and Stefon Harris, recording debut of the year.

Performers from an older generation were also honored: Sonny Rollins, lifetime achievement; Dave Holland, bass; Billy Higgins, drums; Steve Lacy, soprano saxophone; Kenny Barron, piano; and Milt Jackson, vibes.

With jazz very much in need of a meaningful awards show (especially given the generally short shrift it is given at the Grammy Awards), the Jazz Awards, which were presented by Bell Atlantic and Knit Media, have the look of an important and growing event. The ceremony was also cybercast online at https://www.jazzawards.com with active public participation, and was taped for showing on cable television in September.

But to become a true jazz platform, the event is going to have to expand beyond its obvious East Coast orientation. In addition, and despite the presence of so many East Coast-based artists (the four awards to Douglas, virtually unknown on the West Coast, is a true eyebrow raiser), it’s hard not to wonder about the almost total omission of any player associated with Wynton Marsalis’ highly influential Jazz at Lincoln Center. The kinks, and the objectivity, obviously still need to be worked out.