Photo
courtesy
of
Rony
Armas
|
JAZZIN
NOHO
NoHo
was
a
musical
kitchen
on
Friday,
February
20th,
as
the
jazz
roasted
over
an
open
flame
at
the
fourth
annual
Starlight
Jazz
Serenade
Benefit
for
the
Hands
for
Hope
organization. |
Held
at
the
plush
and
luxurious
Leonard
H.
Goldenson
Theatre
at
the
Academy
of
Arts
&
Sciences
in
NoHo
on
Lankershim
Blvd.
(http://www.emmys.com/events/lhgtheatre.php),
just
across
the
street
from
the
historic
and
majestic
El
Portal
(www.elportaltheatre.com),
the
event
drew
jazz
fans
from
as
far
as
Las
Vegas,
San
Francisco
and
beyond.
They
came
not
only
to
support
this
worthy
and
noble
cause,
but
also
to
witness
the
splendor
of
what
may
be
remembered
as
one
of
the
greatest
jazz
concerts
in
the
history
of
Noho.
The
evening’s
host
was
the
stunningly
beautiful,
glamorous
and
talented
LaRita
Shelby.
She
not
only
introduced
the
artists
and
thanked
the
patrons
throughout
the
evening
but
she
also
kicked
off
the
show
with
a
song
she
penned
with
co-composer
Willie
Daniels,
entitled
“Here’s
To
You,
The
Boys
In
the
Band.”
It
was
a
jazzy
bossa
nova
tribute
to
the
musicians
in
the
back
up
band
for
the
show.
She
dazzled
the
audience
with
her
sexy,
sultry
singing
style,
reminiscent
of
Dionne
Warwick.
(The
tight,
sequin
donned,
snakeskin
print
dress
helped
seal
the
deal.)
Actor/comedian
Dannon
Green
(www.dannongreen.com)
came
up
next
and
brought
the
house
down
with
his
hilarious
brand
of
quick
and
spontaneous
humor.
(This
guy
is
so
damned
funny,
but
since
this
is
a
music
column,
we
will
have
to
move
on.)
After
a
warm
welcome
from
Lydia
Floyd,
Founder
and
Executive
Director
of
Hands
For
Hope,
(www.hands4hope.org),
the
Hands
For
Hope
Children’s
Band
took
the
stage.
Directed
by
Stafford
Floyd,
the
band
played
two
selections
that
displayed
their
cohesiveness
and
versatility.
The
rhythm
section
was
made
up
of
Javier
Carrillo
(guitar),
Walter
Guadron
(drums),
and
Lizbeth
Garcia
(bass).
On
keys
were
Rebecca
Castanza,
Aja
Floyd,
Ayinde
Frazier,
Christina
Hippolito,
Daniel
Parra
and
Jacqueline
Sosa.
The
quality
of
their
music
and
cohesive
spirit
reflected
the
respect
of
these
fine
young
musicians
for
Mr.
Floyd
as
a
mentor.
Then
the
house
band
assumed
master
control
of
the
stage. Nice.
The
house
band,
which
would
back
up
all
of
the
artists
for
the
show,
was
directed
by
Dwayne
“Smitty”
Smith
(who
also
played
bass)
and
was
comprised
of
Land
Richards
on
drums,
Brian
Simpson
on
keyboards,
Dwight
Sills
on
guitar,
Gail
Johnson
on
keyboards,
Tim
Gant
on
keyboards.
This
all-star
line
up
of
heavies
was
truly
one
of
the
strongest
bands
ever
assembled
for
a
concert
like
this.
(Highlights
of
their
performances
are
tagged
on
the
walls
of
this
article
but
it
is
worth
devoting
the
rest
of
this
paragraph,
right
now,
to
note
that
as
this
band
backed
up
the
headliners
throughout
the
evening,
they
were
able
transform
their
identity
in
a
way
that
sounded
as
though
each
headliner
had
their
own
personal
back
up
band.)
Gospel
Jazz
Saxophonist,
2002
Stellar
Award
Nominee,
Ron
Brown,
then
took
the
stage
and
proceeded
to
take
the
audience
by
the
hand
into
his
personal
regions
of
saxophone
jazz.
He
started
on
his
soprano
sax
with
a
tune
called
“You
and
Me,”
co-written
by
Smitty
Smith.
Ron
floated
his
notes
over
the
pocket
groove
and
up
to
heaven.
Brian
Simpson
burned
a
masterful
solo
on
the
keys
on
this
number
while
Land
Richards
kept
the
posse
in
the
pocket
on
the
drums.
Ron
then
played
his
“All
To
Jesus,
I
Surrender
All,”
using
his
alto
sax.
This
anthem-sounding
ballad
was
incredible.
Backed
by
a
smooth
rhythm
and
church
organ
sound,
Ron
carved
out
his
spiritual
story
in
a
very
intimate,
telling
and
moving
manner.
As
he
worked
through
a
clever
modulation
in
key
and
brought
the
melody
and
dynamics
of
the
piece
to
new
heights,
the
audience
rose
to
a
standing
ovation
and
cheered
for
what
would
be
the
most
moving
moment
of
the
entire
evening
and
the
piece
was
only
half
over!
After
working
through
a
clever
cadenza
and
gently
brought
the
audience
back
to
earth.
It
was
glorious.
“G
Funk,”
led
by
bassist
Smitty
Smith
on
his
five
string,
was
a
solid
slab
of
energy.
The
way
he
doubled
the
melody
with
the
sax
was
original,
interesting
and
intense. Smitty plays his bass like no one else and together with Land
Richards
form
the
core
of
one
of
the
most
reliable
and
solid
rhythm
sections
ever
to
lay
down
a
groove.
Dwight
Sills
laid
down
the
guitar
law
on
this
one
with
his
wah-wah
pedal
rhythm
and
ultimate
smokin’
melodic
solo.
Ron’s
last
number
for
the
evening,
“His
Love,
Holy
Spirit,
His
Grace,,
assisted
by
the
beautiful,
female,
vocal
foursome,
MIG,
was
also
remarkably
performed.
The
Jesus
rap
that
Ron
threw
down
over
the
blowing
of
the
sisters
was
cool,
displayed
his
artistic
diversity
and
helped
broaden
the
scope
of
his
overall
performance
for
the
evening.
Blue
Note
Label,
Grammy
Nominated
jazz
guitarist
Paul
Jackson,
Jr.
(www.pauljacksonjr.com)
came
on
next
and
annihilated
the
hundreds
of
folks
in
the
seats
sloping
up
from
the
lip
of
the
stage.
He
lit
the
air
on
fire
with
razor
rhythm
flow
intro
to
his
slammin
“Da
Boardwalk”.
His
tone
was
brilliant
and
glistened
over
the
George
Benson-like
“Breezin”
style
string
|
