Bowl Hosts a Rousing Blues Show

The sound of the blues was in the air Wednesday night at the Hollywood Bowl: vocal blues from Lou Rawls, piano blues from Les McCann, organ blues from Joey DeFrancesco and a taste of big-band blues from the Clayton-Hamilton Jazz Orchestra.

The CHJO made its first appearance of the season in a spirited, all-join-in event in which the onstage musical camaraderie added an appealing spontaneity. And the connection between performers and audience was enhanced by four video projection screens placed around the Bowl, affording close-up views of the players. The video close-ups may add additional cost, but there’s no denying their value in bringing a much more personal touch to the programs.

Sounding in midseason form, the CHJO delivered a characteristically hard-swinging set, with first-rate soloing from tenor saxophonists Ricky Woodard and Charles Owens, trumpeter Bobby Rodriguez and new pianist Tamir Hendelman. Co-leader Jeff Clayton, checking into his Cannonball Adderley roots, offered a fast-fingered version of Adderley’s solo on “If This Isn’t Love.” But, in some respects, the CHJO was at its best while providing solid support for the other headliners--firm evidence of its versatility.

DeFrancesco, as always, was unstoppable. Although he soared easily through “Fly Me to the Moon” with the CHJO, it was the propulsive numbers--virtually all blues--with his own trio (Paul Bollenback on guitar and Byron Landham on drums) that once again underscored the mystery of why this sterling jazz organist has received so little acknowledgment.

Rawls and McCann, longtime musical associates, aided by the guitar playing of David T. Walker (with John Clayton and Jeff Hamilton filling in on bass and drums), revisited material from their memorable “Stormy Monday” recording of the early ‘60s. Romping happily through classics such as “I’d Rather Drink Muddy Water,” “In the Evening” and “Stormy Monday,” they revived the swing, the warmth and the sheer joy of the soul jazz movement of the ‘50s and ‘60s.

Joined by the CHJO and DeFrancesco for a rousing finale, Rawls and McCann reminded us of the importance of the blues, of its irresistible capacity to communicate and of its intrinsic role in the jazz experience.