Presented by the Los Angeles Philharmonic Assn. Reviewed Aug. 20, 2008.
Bands: (JC) Jamie Cullum, Mark McLean, Tim Lefebvre; (ACMS) Christian McBride, Patrice Rushen, DJ Logic, Jahi Sundance, Walter Smith III, Maysa; (CBO) Bill Hughes (conductor), Michael Williams, William Barnhart, Waldron Ricks, Kris Johnson, Clarence Banks, David Keim, Barry Cooper, Alvin Walker, John Williams, Doug Miller, Marshall McDonald, Doug Lawrence, Cleave Guyton, Marion Felder, James Leary, Will Matthews, Tony Suggs. Also appearing: Elizabeth Shepherd.
For the second year in a row at the Hollywood Bowl, contempo Brit jazz hipster Jamie Cullum has been placed in a context in which he is not normally heard. Last year with strings was a bit of shoehorning; this year, his appearance with the ghost band of Count Basie fit like old slippers. His shtick has yet to get old, even on a busman's holiday of a program such as this.
Cullum was chipper working standards, Radiohead's "High and Dry" and, in a delightful solo surprise, Rihanna's "Umbrella." Christian McBride, the bassist, joined him on "Nature Boy," just plaintive voice and dexterous runs on the upright; the pairing felt impromptu and magical.
The Count Basie Orchestra, a stellar unit when Frank Foster ran it, is operating on auto-pilot save for pianist Tony Suggs, who actually dug in and attempted to generate Basie-like sparks. Even Cullum, when he was at the piano with the horns blasting, seemed to have a better sense of the Basie bounce.
Middle act on the triple bill was McBride's all-improv, fusion band with Patrice Rushen on keyboards, Walter Smith III on tenor sax, Maysa on vocals and two turntablists. Rooted in funk with Maysa's wordless vocals on the top end, the band connects with the looseness of early Return to Forever and the belief that loose strands, once they reach some sort of confluence, constitute a composition.
A reliance on improvisation, though, prevents the locked-in passages and rhythmic statements that help make the style effective. Magnifying that point was the fact that the best number of the night opened with each instrumentalist performing sans accompaniment; from there they found a meeting ground before venturing in a nearly free-jazz vein. Why there were two DJs -- they did little more than replace a percussionist -- is anyone's guess.
Elizabeth Shepherd, a pianist and singer, led her trio for the first half-hour, positioning herself as an adventurous alternative to Diana Krall or a perky substitution for Patricia Barber.
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Date in print: Fri., Aug. 22, 2008