Not Enough Focus on Pianist O’Brien in Rare L.A. Show

Pianist Hod O’Brien has been in and around the jazz world since the 1950s. By the time he was in his early 20s, he was already working with Oscar Pettiford and recording with Donald Byrd, Art Farmer and many others.

But O’Brien never quite managed to break through to the consciousness of the wider jazz audience, and spent long periods in the ‘60s and ‘70s working outside the music world before returning to jazz full time in the ‘70s, first by operating his own jazz club in New York, the St. James Infirmary, and later via concerts and teaching workshops with his wife, singer Stephanie Nakasian.

So a series of appearances in several Los Angeles clubs over the past week or so generated considerable interest from Southland fans who have rarely had the opportunity to hear O’Brien in action. And at the Jazz Bakery on Monday night, he offered some brief but convincing evidence that, at 64, he is a masterful bop-based improviser.

His opening set, accompanied by bassist Tom Warrington and drummer Paul Kreibich, displayed an elegant, light touch--especially during his soloing on “I’m Getting Sentimental Over You”--his lines unfolding with an impressive blend of precision and propulsive swing.

As it turned out, that was the only time O’Brien would spend in the spotlight, stepping aside for the balance of the program to play a supportive role to Nakasian’s extensive collection of vocals. Strongly influenced by Sarah Vaughan, Nakasian’s singing included some impressive turns of phrase and a smoothly modulated sound.

But her tendency to fill every moment with sound, rarely allowing O’Brien’s music to breathe naturally, ultimately became wearying. Nor did it help that--by grabbing so much space for her theme statements and scat singing--there was rarely much room for O’Brien to solo. For the many who had come hoping to experience the playing of this fine veteran artist, that was a major disappointment in an evening that had initially promised far more intriguing music.