Gathering keyed toward friendship

It was apparent from the advance schedule that last weekend’s Newport Beach Jazz Party would be an appetizing banquet of musical dishes. With four nights and three days of first-rate performances taking place at the Newport Beach Marriott Hotel, there was something on the menu for almost every musical taste, performed by a superb aggregation of musicians, including saxophonists Scott Hamilton, Harry Allen and Houston Person, trumpeters Gilbert Castellanos and Stacy Rowles, trombonist Wycliffe Gordon, guitarists Henry Johnson, Frank Potenza and Ron Eschete, drummer Lewis Nash and the sterling rhythm team of John Clayton and Jeff Hamilton.

But jazz parties -- events which, in effect, preach to the choir by bringing jazz to an audience already convinced of the music’s importance -- almost always offer an unexpectedly compelling experience, as well, something that reaches beyond the sheer pleasures of listening to fine players in action.

In this case, there were a few intriguing offerings in that category: nostalgia in the presence of the current incarnation of the ‘50s vocal group the Four Freshmen on Thursday night; an impressive collection of distaff players in “Women in Jazz” on Friday morning; a pair of hard swinging tributes that included a salute to Horace Silver led by tenor saxophonist Rickey Woodard on Saturday night; and a sturdy look at Count Basie by an all-star orchestra led by John Clayton on Sunday.

The singular event, however, the program that will define the sixth Newport Jazz Party, was Sunday morning’s “Host of Pianists for David.” An acknowledgment of the late David Abell’s extraordinary contributions to the Los Angeles (and beyond) music scene, it was scheduled well before he died, just a week before the program.

Abell was a friend to musicians of every style, manner, ability and gender, but he was particularly loved by pianists. As the Southland’s preeminent piano dealer, he provided pianos for talented players, as well as for venues that could not always afford high-quality instruments. So it was appropriate that the program was devoted to pianists, alone, many of whom had played on a special CD dedicated to Abell -- “Da Vida Bella.”

The lineup was remarkable, reaching across the full age gamut of L.A.’s jazz pianists. At the youthful end, the gifted 21-year-old Gerald Clayton offered a mini-history of styles in his rendering of “Days of Wine and Roses.” At the senior end, veteran Gerald Wiggins dueted with Benny Green on “Gone With the Wind” in a characteristically inventive combination of brisk swing and whimsical musical quotes.

In between, there was one remarkable musical pleasure after another: Bill Cunliffe’s thoughtful take on “You’ve Changed,” Tom Ranier’s combination of mood and rhythm on “You Must Believe in Spring,” a stunning duet version of “Just in Time” by Cunliffe and Renee Rosnes, and Mike Melvoin’s touching “I’ll Be Seeing You.”

Perhaps best of all, pianist Tamir Hendelman’s exquisite original composition “Baboushka” touched upon the range of Abell’s musical affections, from classical to jazz, while, in the process, honoring the instrument that was at the heart of Abell’s life work.

One couldn’t have asked for a better highlight for this well-planned, engaging weekend of prime music.