UCLA Salute to Ellington Uneven but Affectionate

The second night’s performance at UCLA’s Duke Ellington Centennial Celebration promised a somewhat different view of the legendary jazz composer’s work. The presence of the UCLA Philharmonia Orchestra, combined with the UCLA Jazz Ensembles I and II, in the first half of the concert provided an opportunity to hear Ellington’s music beyond the perspective of his own orchestra.

The results, for this part of the program, were mixed. Most impressive was a version of Ellington’s “New World A-Comin’,” originally premiered at a 1943 Carnegie Hall concert. A kind of concerto for orchestra and piano, it featured Herbie Hancock in an orchestral setting arranged by Maurice Peress. Translating the highly personal Ellington sound into more standardized symphonic instrumentation is no easy task, but the results--in this case--were effective as a parallel rendering, with Hancock’s solos and Peress’ orchestration using Ellington’s work for inspiration rather than duplication.

“Three Black Kings,” reportedly one of Ellington’s last compositions, sounded like an unfinished work, despite Luther Henderson II’s thoughtful orchestration. Lalo Schifrin’s mosaic of Ellington fragments in “Echoes of Ellington,” however, trivialized the music in an assemblage best suited for a summer pops concert. And the opening half’s final, and most unusual entry was a charming rendering of Ellington elements in a piece arranged by Paul Chihara and performed by the UCLA Gluck Fellows String Quartet. But one couldn’t help wonder why more of the orchestral program wasn’t devoted to some of the substantial Ellington works for large ensemble--perhaps his “Night Creature” or some of his sacred music.

The second part of the program featured a variety of ensembles, with showcase appearances from a long line of jazz stars, including Milt Jackson, Ray Brown, Jimmy Smith, Kenny Burrell, Barbara Morrison, O.C. Smith and others. But too often, in a concert that stretched to four hours, the sets had a rushed quality as musicians took their turns on stage.

As a result, the better moments popped up intermittently, often unexpectedly: Justo Almario’s stirring alto saxophone soloing with the Bobby Rodriguez band; Jeff Hamilton’s imaginative statement of the theme to “Caravan” on his drum set; Brock Peter’s gorgeous rendering of the rarely heard song, “They Say”; the remarkably symbiotic qualities of the group that included Milt Jackson, Billy Childs, Ray Brown and Hamilton (a group that some enterprising record producer should take into the studio).

Best of all, and despite the celebration’s uneven qualities, there was a constant feeling of respect and affection for Ellington that coursed through virtually all the performances in this impressive display of Los Angeles jazz talent.