JAZZ REVIEWS : No Generation Gap at Hollywood Bowl’s ‘Jazz Masters’

Wednesday’s “Jazz Masters” concert at the Hollywood Bowl provided an object lesson in how the jazz world has been splintered into generational camps. The program, which included a make-shift group of veterans dubbed “The Golden Men of Jazz,” and the trios of 87-year-old violinist Stephane Grappelli and bassist Ray Brown, made much of seniority and little of the artistry that carried these performers through their distinguished careers.

Bassist Brown, appearing both with his trio and with fellow bassists John Clayton and Christian McBride (who is barely into his 20s), made the strongest statement against elderly categorization. With twentysomething drummer Gregory Hutchinson and thirty-something pianist Benny Green, the trio demonstrated the encompassing nature of the jazz cannon, in both standard material and rhythms. As the three bassists, without piano and drums, shared lead and accompaniment duties on tunes including “Bye Bye Blackbird” and “Lullaby of Birdland,” it was clear that jazz is a common language, spoken by its practitioners without regard to age.

Likewise, Grappelli’s appearance established the ageless nature of the music. Backed by guitarist Bucky Pizzarelli and bassist Jon Burr, the violinist imparted swing and youthful enthusiasm to timeless material, including “Night and Day,” “I Get a Kick Out of You” and “Blue Moon.” Though Grappelli’s style and playlist have changed little over the last several years, the depth and vibrancy of his play continue to be wonderfully infectious.

Headliners “The Golden Men of Jazz” were another matter. In their salute to vibist Lionel Hampton (who was originally scheduled to appear but was unable to because he’s recovering from a stroke) the nine-piece, ad-hoc ensemble gave a tired performance. While members including vibist Milt Jackson, trombonist Al Grey, pianist Junior Mance and drummer Louis Bellson have all made strong musical statements under their own names in recent times, as a group they fell flat. The ensemble play lacked strength and tightness, with tempos that frequently stalled. There was plenty of personality represented on stage, but little opportunity for it to come to the fore.

Individual performances were the highlight here. Trumpeter Harry Edison’s whispered tones, trumpeter Pete Candoli’s virile growls, Grey’s slippery lines and Mance’s quirky sense of swing all provided enjoyable moments. Jackson’s blues-tinged, propulsive lines, especially on Hampton’s “Just Jazz,” were melodically involving.

Vibist Terry Gibbs added life when he came out to solo on “What’s New” and “Flying Home” and bassist Milt Hinton sparked the proceedings with a self-indulgent rap that summarized his career. Still, there was little that would set toes to tapping.