DOC SEVERINSEN

SERGIO MENDES

"Evening with Doc Full of Energy"

Richmond Times-Dispatch

Martha Erwin

March 11, 2002 

Is he a showman or a musician? Well, why not both?

In the case of Doc Severinsen, longtime bandleader and sidekick to Johnny Carson on "The Tonight Show," it's a case of personality dominating the music.  Luckily, the personality is generous. And, also luckily, Severinsen's chosen the pops arena, where his effervescence and fondness for pink clothing work as well as they did on the medium he seems made for: Television. 

An extremely energetic performer, Doc the conductor works a little harder than necessary. His baton (which a couple of times skidded away from him) didn't so much lead as whip the orchestra through the program introduced as "Gershwin, Ellington, Vienna and More." Not that the Richmond Symphony Pops performers were lackluster. Woodwinds and brass (especially trombone) were especially noteworthy in the popular dance and show tunes, and the strings rarely sounded as ragged as the pace of the evening might have warranted.

If mixing Johann Strauss waltzes and polkas, a tune from Puccini's  "Turandot," an "Ode to Doc" (based on Beethoven's "Ode to Joy") with American masters Gershwin, Ellington, Louis Prima and Nat Cole in about two hours of music sounds like heavenly pastiche, well, you're Doc's perfect audience.  After an opening medley from Strauss' "Die Fledermaus," the medleys and other bits of tunes kept coming. There were full-bodied exceptions, such as Prima's "Sing, Sing, Sing" and Ellington's "In a Sentimental Mood." There were truly funny moments, such as the tuning of the "cork popper" instrument featured in the "Champagne Polka."

After intermission, Doc donned more pink, traded sequins for leather and launched into a Gershwin medley. He also let his traveling musicians shine - Jennifer Jane Leitham sounding smart and sassy on left-handed bass; Biff Hannon's piano trying hard to be heard; and Kevin Winard on drums, which absolutely smoked the stage in "Sing, Sing, Sing."   

Milwaukee Journal Sentinel

Pops' Latin night is steamy, rhythmic

By ELAINE SCHMIDT

Oct. 4, 2002

The Milwaukee Symphony Orchestra's Principal Pops conductor Doc Severinsen was on hand Friday evening, leading the orchestra and guest soloists in a program of Latin music.

Playing to an audience of about 1,300 in Uihlein Hall of the Marcus Center for the Performing Arts, Severinsen and the orchestra were joined by vocalist Franklin Paz, violinist Ilmar Gavilan, pianist Joe Rotondi, bassist Carlos Puerto, drummer Kevin Winard, lead percussionist Luis Conte and percussionist Mitch Sanchez.

The program, which was energized and fascinating from front to finish, featured Latin favorites such as "Guantanamera," "Besame Mucho" and "Malaguena." "El Cumbanchero" and "For Whom the Bell Tolls" were also heard, as were Chabrier's "Espana," along with Ginastera's "Malambo" from "Estancia," and the Afro-Cuban "Manteca."

Severinsen and the soloists joined forces on several numbers to create a mix that was part-percolating rhythms, part steamy melodies, and a good deal of jazz.

Violinist Gavilan added passionate improvised solos in a sound that was more freely vocal than it was instrumental. While playing "Carioca," he and Severinsen traded lines in an animated musical conversation.

Doc Severinsen Delivers Trumpet Virtuosity to Match His Wardrobe

CATHERINE REESE NEWTON
The Salt Lake Tribune

Sat. January 28, 2003

 

Doc Severinsen came to town Friday to play with the Utah Symphony, sporting a jacket so shiny the audience could almost read the trumpet music on the stand behind him. But the convivial former "Tonight Show" bandleader showed he has chops as amazing as his wardrobe. Severinsen, 75, turned in a tour-de-force performance of American classics by George Gershwin and Duke Ellington, plus some Viennese favorites from Johann Strauss and even a couple of Puccini arias. The effort occasionally showed, as when a water-sipping Severinsen commented on the altitude after a daringly florid cornet solo in "Funiculi, Funicula." But for the most part, his virtuosity defied superlatives.
    

He showed impressive versatility as well, with a performance that was by turns mellow, thoughtful and brilliant. A medley of Ellington hits featured especially artful use of the mute.
Severinsen brought his sharp three-piece combo; pianist Biff Hannon, bassist Jennifer Leitham and drummer Kevin Winard to Abravanel Hall. All three had impressive solo moments; Hannon and Leitham in the Gershwin medley, and Winard in Louis Prima's "Sing, Sing, Sing." The audience also thrilled to the cork-popping virtuosity of Gary Davis in Strauss' "Champagne Polka."

Severinsen showed off his conducting technique in pieces such as Strauss' Overture to "Die Fledermaus" and "Voices of Spring." And his wit was as sharp as ever. "You're gorgeous!" he exclaimed to the crowd. "So are you!" came the reply. "I told you my relatives would be here," Severinsen shot back. "The whole gang came down from Hyrum." Whether they did or not, Severinsen's show would have been worth the drive.

ANN MARIE McQUEEN 

 Ottawa Sun

Friday, July 25, 2003

OTTAWA-Confederation Park had the feel of Brazil in the '60s last night, as Sergio Mendes and his talented group of musicians took to the Ottawa Jazz Festival Main Stage. An estimated 9,000 people turned out as the sun set to hear one of the founding fathers of the popular hybrid of Latin music and jazz known as bossa nova. Though the 63-year-old Mendes may be better known for performing with Brasil 66 all those years ago, last night the Grammy winner had assembled a new and fully capable edition, dubbed aptly Brasil 2003. And Mendes himself prompted many in the crowd to jump to their feet when he first took the stage in an electric-green shirt, black pants, and, surprise, fluorescent green socks. After the versatile pianist was seated behind the ivories to the left of the stage, Mendes immediately let his signature duel female singers (a dramatic part of his move decades ago to bring a sexy, sassy form of Brazilian music to the masses), take center stage.

Dawn Bishop and Jessica Taylor provided a colorful, unified front to the samba sounds, which had an enthusiastic crowd on the side of the stage swinging and dancing from side to side. At several points the pair, each briefly showcasing their own powerful vocals, had everyone clapping their hands above their heads while they jived on stage. They made the crowd wait until the show's close for one of Mendes' biggest hits, Mais Que Nada, but moved seamlessly between other upbeat favorites like the smooth as butter Chove Chuva, The Girl From Ipanema, One Note Samba, Like a Lover and a medley of Casa Forte/Zanzibar/A Felicidade.

"Thank you so much, beautiful festival, it's an honor for us to be here," said Mendes at the end of the 90-minute show. Mendes spoke to the crowd only a few times, at one point dedicating a section of the concert to the "percussion" of Brazil. Soon percussionist Meia Noite was delighting the audience by banging playfully with his precise rhythm on what seemed like every instrument under the sun. Having never heard Brasil 66 play on anything other than a Greatest Hits CD of studio faves, I have nothing to compare this newest incarnation to. But the combination of Kevin Winard on drums, Meia Noite on percussion, Kleber Jorge on guitar, Bill Brendle on backup keyboards, James East grooving on the bass, and of course, Mendes tickling the ivories and joining in on the odd vocals, was enough to make anyone's night. At times the show seemed just like how I'd imagine a big old Brazilian party to be, right there on stage, one of those lucky enough to be at the Jazz Festival last night had the pleasure of being invited to.

SERGIO MENDES and BRASIL 2002

Robert L. Daniels-Variety.com

Nov. 20, 2002

Blue Note-New York City

Vocals; Gracinha Leporace, Jessica Taylor. Musicians; Meia Noite, Bill Brendle, Kevin Winard, Hussain Jiffry, Grecco Buratto. Nov. 19-24, 2002.

Sergio Mendes is perhaps the most durable survivor of a sixties Latin pop fad which produced such contemporaries as Herb Alpert and Tijuana Brass and the Baja Marimba Band. Brazil ‘66 has weathered many incarnations and the energy remains at fever pitch with Brasil 2002. Winding up a month long Fall vocal fest at the Blue Note, Mendes and his fiery septet groove on traditional bossa and the thundering Brasileiro rhythms of the north country. 

Band is a hot bed of rhythm, fronted by a couple of classy ladies. Gracinha Leporace is the principal vocalist, backed up by the enticing presence of the sizzling young Jessica Taylor. There is a consistent fever pitched unity for the entire set, which never lets up. Mendes governs from the Yamaha with assured intensity and confidence. His playing is strong and direct. His muscular leadership fuels his group and they are given plenty of space to romp.

Center of the set was a tribute to the father of bossa nova, Antonio Carlos Jobim. Topped by “Desafinado,”  - the song that started a craze and gave jazz just the shot in the arm in needed in the mid-sixties, - the grouping was followed by  “One Note Samba” and the always affecting, “Waters of March.”   The supple, insinuating medley was sung in the original Portuguese by Leporace and Taylor. The rhythmic thrust and affecting romanticism of the Jobim legacy remains irresistibly infectious.

Showpiece was a dazzling fifteen minute solo spot by Meia Noite. Bounding from timbao and conga, to bongo and cowbells, the extraordinary percussionist even had the audience join in for a hand clapping call and response.  Mendes and the ladies left the stand for a long break as the versatile and explosive Noite burned the tubs and skins. 

Closers were Mendes milestones, Jorge Ben’s “Mas Que Nada” and “Tristeza (Goodbye)” by Harold Lobo-Torquato, reaching back to the glory days of the original Brasil ’66. It remains a buoyant groove all the way.

KLEBER JORGE

TEKA

By JOSEF WOODARD

SANTA BARBARA NEWS-PRESS CORRESPONDENT

Brazilian singer-guitarist Téka is one of Santa Barbara's luminous musical citizens, a fact that a full house was reminded of Wednesday night at SOhO. Although Téka performs around town on a fairly regular basis, this was a special and affirming occasion, a release party for a wondrous new CD, "Watercolours of Brazil."

Although Téka put out an album of mostly original tunes, "Garden Planet," several years ago, the new album raises the musical level up a few notches. In effect, the new CD is a ripe, moving primer in classic Brazilian music, with material taken from the songbooks of the great Brazilian writers. Among the composers represented are Jobim, Baden Powell, Gilberto Gil, Milton Nascimento, and even former Santa Barbarans Flora Purim and Airto Moreira (via their joyous tune, "Tombo"). Most importantly, Téka takes an artistic step upward on the recording by showing a maturing naturalism in her vocal approach, and an understated luster which enhances the intent of the songs.

Hailing from Londrina, Brazil, Téka Penteriche, who goes by just her given name, came to Boston in the '80s with her husband, composer Paris Psaros, where he studied at the New England Conservatory. While there, she attended Berklee School of Music and developed her musical act in Boston clubs. In 1995, they came to UCSB. Like many other temporary residents turned permanent, they landed in Santa Barbara and forgot to leave, and now are raising a 4-year old daughter.

Wednesday night, her band consisted of most of the players who appear on the CD. She was in good company, indeed. Drummer Kevin Winard and bassist Randy Tico, have both followed their musical heart into the Brazilian groove, and have become part of the general Southern Californian Brazilian musical contingent. Pianist Rique Pantoja filled in for the CD's Renato Neto and did a stellar job. Guitarist Chris Judge is a versatile sort, whose résumé has included and playing gypsy-esque music with the Transylvanian Mountain Boys and the solo part of an Aaron Kernis work at the Ojai Music Festival in June. Jazz and Brazilian music also come naturally to him.

The band opened the evening on a gentle, rippling note, with the supple classic tune "O Barquinho (Little Boat)," with a tasteful acoustic guitar solo by Judge. Throughout, Martinez was something of a utility man, playing fervent flute solos, adding subtle colorations on percussion. He picked up bass flute for a beautiful version of "Antes que seja tarde," by the great Brazilian songwriter Ivan Lins.

On a funk-meets-samba front, Téka served up Djavan's "Meu mestre coracao."

She sang, wordlessly, the lovely and smart melody line of Torninho Horta's "Prato Feito (Blue Place Special)," which swerves around the kind of restless chord progression that Brazilians seem to excel at concocting. Of course, in any conscientious survey of the Brazilian musical landscape, Jobim will not be denied. The late, great Antonio Carlos Jobim is like a mountain that demands to be visited, and Téka does so with respect and vitality. At SOhO, the Jobimana included "A Felicidade (Happiness)," the bittersweet melodic contours of which Téka floated over nimbly.