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Walt Disney Concert Hall

Los Angeles, Ca
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Date
Artist
Sources
+
06/16/2004
Jason Mraz
24746, 24747
Set 1Flying My Guilt Over A Quilt*@
0% Interest*
The Remedy (I Won't Worry)
Better
The Rainbow Connection&
Right Kind Of Phrase*
God Rests In Reason*
Absolutely Zero*$
Too Much Food*
You And I Both
Song For A Friend*@
No Yesterdays*$%^
Put Down The Remote Control*$%#
What It Takes*@$%

Encore:
Curbside Prophet (acapella)*@$%
Comment* Jenn Lowe on percussion
@ Bob Necksnapp on turntables
$ Raul Midon on guitar/vocals
% Makana on guitar/vocals
^ Raul Midon song
# Makana song
& Theme to "The Muppets Movie"
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06/17/2004
Jason Mraz
31270, 31271
Set 1Flying My Guilt Over A Quilt
On Love, In Sadness
The Remedy (I Won't Worry)
Halfway Home
You And I Both
Right Kind Of Phrase
God Rests In Reason
Absolutely Zero
Too Much Food
Song For A Friend
No Yesterdays
Put Down That Remote Control
What It Takes
Curbside Prophet
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06/17/2004
Raul Midon
70872
Set 1You Make Me Feel Alright
If You Really Want
Waited All My Life
Ain't Happen Yet
Everybody
State of Mind
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07/16/2004
Raul Midon
Set 1You Make Me Feel Alright
If You Really Want
It's All in Your Mind
Sunshine
If You're Gonna Leave
Everybody
State of Mind
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03/13/2006
Keith Jarrett
CommentSolo Concert
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10/13/2006
Los Lobos
79152
Set 1La Pistola y el Corazon
Canto a Veracruz
El Canelo
Colas
One Time, One Night
Arizona Skies >
Borinquen Patria Mia
When the Circus Comes
Short Side of Nothing
Estoy Sentado Aqui
Saint Behind the Glass *
Ojos De Pancha
Be Still
Guantanamera
Teresa
Set 2La Feria de los Flores
El Cuchipe
Sabor a Mi
Maricela
Hold On
Chuco's Cumbia
The Valley
Our Last Night #
Rita #
The Town
The Road to Gila Bend
Don't Worry Baby
Yo Soy Mexicoamericano
Cumbia Raza
Comment* with Fermin Herrera on harp
# with Greg Leisz on pedal steel
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11/04/2006
Keb' Mo'
Set 1-->
Keep It Simple
Closer
Suitcase
Change
The Door
Victims of Comfort
City Boy
Hand It Over
I'm Amazing
Dangerous Mood
The Itch
One Friend
Shave Yo' Legs
More Than One Way Home
Henry
As Soon As I Get Paid
Just Like You
?
CommentTHE BAND:

Keb' Mo' - vocals, guitar
Jeff Paris - piano (electric), mandolin
Les Faulkner - drums
Reggie McBride -bass

First of three shows in the Walt Disney Concert Hall's "Songbook Series."
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12/22/2006
Escovedo Family Orchestra
Set 1Jingle Bells
Silent Night
unknown
band introductions
(Alejandro)
Break This Time (Alejandro)
unknown
Sheila's smoking solo
Little Drummer Boy
Santa Baby (Sheila)
unknown
Ballad of the Sun and the Moon (Alejandro)
Feliz Navidad
thank yous
'Tis the Season

Encore:
Sonerito
CommentTHE ESCOVEDO FAMILY ORCHESTRA:

Pete Escovedo - timbales
Sheila E. - drums
Juan Escovedo - congas
Peter Michael Escovedo - bongo & drums
Joe Rutundi - piano
Mark VanWageningen - bass
Michael Angel Alvarado - guitar
Sal Cracchiola - trumpet
Mario Gonzalez - trumpet
Arturo Velasco - trombone
Kerry Loeschen - trombone
Justo Almario - saxophone, flute
Shelly James - vocals
Cherie Brown - vocals


SPECIAL GUEST: Alejandro Escovedo - guitar, vocals
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05/05/2007
Rosanne Cash
CommentWith John Leventhal (guitar), Zev Katz (bass), and Dave Mattacks (drums).
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05/06/2007
Bright Eyes
Set 1Clairaudients (Kill or Be Killed)
Hot Knives
Make a Plan to Love Me
Middleman
First Day of My Life
If the Brakeman Turns My Way
Four Winds
No One Would Riot for Less
False Advertising
Cleanse Song
I Believe in Symmetry
Lime Tree
Set 2Classic Cars
Lua
Look At Miss Ohio
Road to Joy
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01/08/2008
Rogue Wave
Set 1Chicago x 12
Lake Michigan
Commentinformation provided by dbetree Live Music Archive automated set list parser
<a href= "http://www.archive.org/details/roguewave2008-01-08.dpa4061.flac16">Live Music Archive Link</a>
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12/04/2009
The Airborne Toxic Event
Set 1Wishing Well
This Losing
A Letter To Georgia
Book Of Love (Cover of The Magnetic Fields)
Something New
?
Gasoline
Happiness Is Overrated
Set 2Does This Mean You're Moving On
Do You Remember Rock'N' Roll Radio (Ramones Cover)
Sometime Around Midnight
Goodbye Horses (Cover - Q Lazzarus)
All I ever wanted
Innocence

Encore:
Missy
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03/15/2010
Keith Jarrett
Set 1Part 1-11
Don´t Ever Leave Me (E1)
Over The Rainbow (E2)
Carolina Shout (E3)
Someday My Prince Will Come (E4)
CommentSolo Concert
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02/12/2011
Los Angeles Philharmonic
Set 1Announcer
Shostakovich: Jazz Suite No. 1

Waltz
Polka
Foxtrot

Announcer
Gershwin: An American in Paris

Announcer/Interview
Marsalis: Swing Symphony (Symphony No. 3) (LA Phil Commission)
CommentShostakovich: Jazz Suite No. 1

Composed: 1934
Length: c. 8 minutes
Orchestration: soprano saxophone (= alto 2), alto saxophone, tenor saxophone, percussion (drum, woodblock, cymbal, bells, xylophone), piano, banjo, Hawaiian guitar, violin, and bass
First Los Angeles Philharmonic performances

Though Dmitri Shostakovich seemed destined to greatness in the classical tradition, he also loved popular music. He was taken with Jewish folk and theater music, for example, and with the gypsy tunes his father frequently sang around the house. He was also unabashedly in love with the cinema. In fact, he wrote over 30 film scores, many during periods in which he had fallen out of favor with the Soviet authorities and had trouble getting concert performances.

The years 1929-1933 were busy ones for Shostakovich, especially writing music for films. Sound had been recently introduced in cinema, and as dialog and sound effects became more prominent, musical segments began to shrink. Also, directors were searching for new and exotic sounds. The Golden Mountains, a 1931 film by Sergei Yutkevich, was a perfect example. Shostakovich experimented with a variety of unusual and offbeat instruments in his score for that film, including the theremin (an electronic instrument invented by Russian Leo Theremin, forerunner of the modern synthesizer), the flexitone, the American banjo, and the electrified Hawaiian lap guitar. Rather than just writing extended compositions, he also wrote pop-style tunes for the film; the song “If Only I Had Mountains of Gold” became “all the rage” after the film’s release, according to Soviet cinema expert Herbert Marshall.

Shostakovich’s experience in those years certainly influenced the sound of the 1934 Suite for Jazz Orchestra (No. 1), which was commissioned by a Leningrad dance band. His “take” on jazz is whimsical, indeed, reflecting his interest in gypsy music and in the music of the Yiddish theater more than it does the sound of American jazz. It also reflects his penchant for offbeat instruments, not to mention his ability to spin a tune.

The first movement, an upbeat Waltz, opens with a catchy tune in the trumpet, followed by saxophone, then violin. A chirpy middle section features glockenspiel prominently. Shostakovich briefly flirts with the minor mode, then returns to the tunefulness of the opening.

The second movement, a convivial Polka, continues the chirpiness, with xylophone featured first. Muted brass plays next, while the driving banjo plays the off beats. Both alto and tenor sax have their say before the violin has the last word with a chipper solo featuring the spiccato (bouncing) bowing technique.

The Finale, marked “Foxtrot” in the score, starts with a brassy opening, followed by a sinuous melody played by saxophone. The most peculiar section, which hearkens back to his film score from The Golden Mountain, features the Hawaiian guitar taking the melody while a trombone slithers around underneath in accompaniment. Trombone next takes a turn at the melody, followed by another splash of glockenspiel, a return of the saxophones, and an assertive ending by the ensemble.

George Gershwin: An American in Paris

Composed: 1928
Length: c. 17 minutes
Orchestration: 3 flutes (3rd = piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 saxophones (alto, tenor, and baritone), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bells, cymbals, snare drum, taxi horns, tom-toms, triangle, xylophone), celesta, and strings
First Los Angeles Philharmonic performance: January 15, 1931, Artur Rodzinski conducting

Since his early teens George Gershwin had been enamored with the music he heard uptown in Harlem, a region that was quickly becoming the center of the jazz universe. Indeed, his first attempt at a more serious composition – a mini-opera called Blue Monday – was a story about characters in a Harlem nightclub. Its first presentation was on Broadway, however, with white singers performing in blackface; it was a flop and received only one performance.

Undisturbed, Gershwin’s next try at a classical/jazz merging was the so-called “Experiment in Modern Music” (as it was billed for its 1924 premiere): Rhapsody in Blue. He followed this with his Concerto in F, which some writers called “The Jazz Piano Concerto.” These two works were popularly successful, though critics were still guarded with their praise.

It was a trip abroad that inspired Gershwin to work in earnest on a recent commission he had received from the New York Philharmonic. His idea for the new work solidified as he was shopping for Parisian taxi-horns to take back to the US: capture the tumult of Paris’ streets in music and create a concert work that didn’t center around the piano.

Back in New York, Gershwin finished An American in Paris, which he subtitled “A Tone Poem for Orchestra.” In an interview in the August 18, 1928 edition of Musical America, he said of the work: “this new piece, really a rhapsodic ballet, is the most modern music I have ever attempted.” He also gave a brief “program note” of the work:

“The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American… perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. The harmony here is both more intense and simpler than in the preceding pages. This blues rises to a climax, followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impression of Paris. Apparently the homesick American, having left the café and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.”

Though still not a critical success, An American in Paris was wildly successful with audiences – and Hollywood – and established Gershwin as an original voice in concert halls worldwide, a voice that resonates to this day.



Wynton Marsalis: Swing Symphony (Symphony No. 3)

Written in 2010 by Wynton Marsalis, the symphony was co-commissioned by the LA Phil and is a part of the On Location residency of Jazz at Lincoln Center, which also includes a Jazz series concert, educational outreach, and inspiration for a Toyota Symphonies for Youth program, Jazz and the Orchestra.

Swing Symphony was conducted by the multiple award-winning maestro, Leonard Slatkin, the former Principal Conductor of the LA Phil at the Hollywood Bowl and a longtime friend of Carolyn and Bill Powers, the beloved philanthropists behind the popular Jazz Series programs at the Los Angeles Philharmonic Association.

The six-movement piece runs approximately 55 minutes and featured the 15 members of the Jazz at Lincoln Center Orchestra with Wynton Marsalis, and nearly 90 members of the Los Angeles Philharmonic orchestra. Defined as a “symphonic meditation” on the evolution of swing, Marsalis’ inspired symphony celebrates jazz history as it assimilates many of the evolutionary forces that have contributed to its survival. Swing Symphony also celebrates the symphony orchestra and jazz orchestra in a democratic pairing.

The first movement pays tribute to Ragtime and fills the most conspicuous gaps in the music’s literature, the need for a work that would update the genre’s story. Marsalis didn’t spare the syncopated power of ragtime rhythms or the intensity and emotional depth of the improvised sections that were accomplished in a stirring solo by trumpeter Ryan Kisor followed by collective improvisation by the jazz orchestra that closed the movement.

The second movement suggests a busy city street, complete with car horns, whistles and sirens. There are several dance rhythms including the Charleston and later one hears a tango! This Duke Ellington-esque movement may have gone over the head of a less apt conductor or orchestra and would have sounded disjointed. The movement has a big ending with a sort of George M. Cohan feeling with its However, under the baton of the great Leonard Slatkin as he conducted the legendary Los Angeles Philharmonic orchestra and the Jazz at Lincoln Center Orchestra, the movement brought applause from the audience at its conclusion.

The third movement was ripe with Kansas City swing. There is a big call and response with saxophone . At this point many audience members are patting their feet and bobbing their heads to the rhythms and beats coming straight from the hearts of two world class orchestras. The symphonic orchestra was swaying rhythmically, the cellists patting their feet in time while the jazz orchestra delivered on the Coleman Hawkins-esque section with its 5-saxophone voicings. Call and response again here between the saxophone and cello. The leads change with Sherman Irby , then Victor Goines, but the baritone saxophone does not have a solo. There is even a parade/chant feeling at the end with all of the orchestra swinging with a Louie Prima type swing. This movement was joyous, spirited, romantic and stirred an elated audience to applaud even more appreciatively.

By the time the fourth movement began, many of the audience members could hardly contain themselves. As the heat of the bebop emanating from Marsalis’ trumpet solo rose to the highest rafters, you knew that this movement would be the most talked about. Marsalis played in the upper registers, honoring both Dizzy Gillespie and Charlie Parker in a blazing solo before an extended mambo enticed you to get out of your seat! The beat of the percussion and brass captivated and seduced you until an expressive alto saxophonist paying homage to Bennie Carter took you to another level of Carter’s great riffing.


A fugue with Gunther Schuller, John Lewis, George Russell’s influences starts this movement. The orchestra then goes into Mingus, with something that sounded like Goodbye Pork Pie Hat. Later, modal structures suggested by Miles Davis’ So What and John Coltrane comprise the fifth movement but they are very modern and as described by the composer, “modern primal.” The movement captured the essence of these great masters and was intoxicatingly beautiful. Marsalis’ use of a wide range of compositional techniques to arrange the emerging sensibilities of Schuller, Lewis Russell, Davis and Coltrane into this amazing movement only hints at the full extent of Marsalis’ genius.

The sixth (which is actually the seventh movement) movement of the Swing Symphony starts off with a groove of hand claps and foot stomps along with brass and percussive sounds straight from Africa…expressing growls, moans and plaintive calls all through luminous high tones and sly quotes. Then we’re back in New Orleans and the orchestras are in full swing, tempering the work from swing to ballad, then a brief trumpet cadenza before the final note.

The audience burst into a deafening roar, shouting “bravo,” “bravo,” “more,” “more.” Maestro Slatkin took his bows as the composer emerged from the center of the orchestras to take his. The audience leapt to its feet and the ovation grew louder as Wynton Marsalis, the LA Phil and the Lincoln Center Jazz Orchestra stood to take their bows. The ovation continued as Slatkin and Marsalis returned for a second bow. Finally, after the third curtain bow, Slatkin returned, took a seat on the podium, and pointed to Marsalis to lead an encore.

After the encore was over, the audience rose to its feet with an even more deafening ovation. Marsalis, with tears in his eyes and hand over his heart thanked his new patrons and left the stage with Slatkin. The event was a huge success. Two multiple award winning maestros had put one of the most anticipated symphonies on its new feet and now, still together, they would delight in the roar of thousands of feet pounding and hands clamoring for more!
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09/27/2011
Herbie Hancock
CommentRhapsody in Blue: 2011/12 Opening Night Concert
Artists:
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Herbie Hancock, piano
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03/10/2012
Trey Anastasio
119443, 119466
Set 1First Tube
Water In The Sky
Divided Sky
Brian And Robert
Goodbye Head
Guyute
Let Me Lie
Stash
Set 2Time Turns Elastic
If I Could
You Enjoy Myself

Encore:
The Inlaw Josie Wales
CommentTrey Anastasio Backed By The Los Angeles Philharmonic Orchestra (Conducted By Scott Dunn)
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05/07/2012
Death Cab for Cutie
Set 1
Set 2
Set 3
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10/07/2013
Fiona Apple
Set 1Tipple
The First Taste
Every Single Night
Unworthy (Blake Mills)
Anything We Want
Curable Disease
Regret
It'll All Work Out
I Want You To Love Me
It's Only Make Believe
Seven
Dull Tool
Don't Tell Our Friends About Us (Blake Mills)
Left Alone
I Know
Waltz (Better Than Fine)
Set 2
Set 3
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11/24/2013
Beck
Set 1Jack Black removal of pants and intro
Merry Clayton & Fred Martin choir "Eyes That Say I Love You"
Josh Kun on sheet music and LA songs
LA Philharmonic "Last Polka"
Childish Gambino & Roger Joseph Manning Jr. "Please Leave A Light On"
Alison & Tiffany Anders on music in films
Jon Brion "Just Noise"
Moses Sumney "Title Of This Song"
Jonathan Gold on Jac Zinder
Jarvis Cocker "Why Did You Make Me Care?"
Christian Robinson film on "what is music"
John C. Reilly & Becky Stark & Tom Brousseau "Wolf On The Hill" (no orchestra)
Beck "America, Here's My Boy" (no orchestra)
Beck "Wave"
Van Dyke Parks on songs
Juanes "Don't Act Like Your Heart Isn't Hard" (in Spanish)
Randall Poster on Jack Neitzche
Jenny Lewis & Anne Hathaway "Last Night You Were A Dream"
Jack Black & Jonny Dyas "We All Wear Cloaks"
Tig Notaro on "You Can't Always Get What You Want"
Beck & Roger Joseph Manning Jr & Fred Martin choir "Heaven's Ladder"
Beck, Roger Joseph Manning Jr, Jon Brion, John C. Reilly, Merry Clayton, Jack Black, Childish Gambino, Jon Brion, Anne Hathaway, Jenny Lewis, Jarvis Cocker, Tom Brousseau "Do We? We Do
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03/19/2014
Kraftwerk
Set 1Welcome
Trans Europe Express
Metal On Metal
Abzug
Franz Schubert
Europe Endless
The Hall Of Mirrors
Showroom Dummies
Autobahn
Geiger Counter
Radioactivity
The Robot
Spacelab
The Model
Numbers
Computer World 2
It’s More Fun To Compute
Home Computer
Computer Love
Tour De France
Tour De France Etape 2
Boing Boom Tschak
Techno Pop
Musique No
Set 2
Set 3
+
03/20/2014
Kraftwerk
Set 1
Set 2
Set 3
+
03/21/2014
Kraftwerk
Set 1Pre-Show/Vocoder Intro
Tour De France 1983
Tour De France Etape 1
Tour De France Etape 2
Vitamin
Aerodynamik
Elektro Kardiogramm
La Forme
Regeneration
Autobahn
Geiger Counter
Radioactivity
Trans Europe Express/Metal on Metal/Abzug
The Robots
Spacelab
Numbers
Computer World 1+2
It's More Fun To Compute
Boing Boom Tschak
Techno Pop
Musique Non Stop
Set 2
Set 3
+
09/20/2015
Chris Cornell
Set 1Before We Disappear
Can't Change Me
The Times They Are A-Changin'
I Threw It All Away
As Hope And Promise Fade
Nearly Forgot My Broken Heart
Doesn't Remind Me
Fell On Black Days
Sunshower
Rusty Cage
Hunger Strike
Black Hole Sun
Worried Moon
Josephine
When I'm Down
Like A Stone
One
Ave Maria
Let Your Eyes Wander
River Of Deceit
Wooden Jesus
I Am The Highway
Higher Truth
Imagine
Set 2Nothing Compares 2 U
Thank You
Misery Chain
Set 3
+
03/10/2018
Glen Hansard
Set 1
Set 2
Set 3
+
03/11/2018
Glen Hansard
Set 1
Set 2
Set 3
+
12/07/2018
Trey Anastasio
Set 1Secret Smile
Set Your Soul Free
Brian and Robert
The Inlaw Josie Wales
Mountains in the Mist
Free
Two Versions of Me
Summer of '89
Everything's Right
If I Could
Limb by Limb
Prince Caspian
Till We Meet Again
Mexican Cousin
Mercury
Rise/Come Together
Talk
Wolfman's Brother
The Wedge
Blaze On
Bathtub Gin

Encore
Waste
Say It to Me S.A.N.T.O.S.
More
Set 2
Set 3
+
10/15/2019
Nick Cave
Set 1
Set 2
Set 3
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06/02/2023
Rufus Wainwright
Set 1Heading For Home
Kaulana Nā Pua
Black Gold
Down In The Willow Garden
Kathleen's
E Poi
Dear World
Harvest
Alone
Twelve‐Thirty (Young Girls Are Coming To The Canyon)
Set 2Hush Little Baby
Going To A Town
Shenandoah
High On A Rocky Ledge
The Windows Of The World
He Loved
Old Song
Cotton Eyed Joe
Band Intros
Islands In The Stream
Ring Them Bells
Wild Mountain Thyme
Set 3
CommentRufus Wainwright - lead vocals, guitar, & piano
Lucy Wainwright Roche - backing vocals
Petra Haden - violin & backing vocals
Brian Green - guitar
Josh Nelson - piano & keyboards
Alan Hampton - bass
Kyle Crane - drums

Special Guests:
Richard Parks
Van Dyke Parks
Madison Cunningham
Andrew Bird
Susanna Hoffs
Chaka Khan
Bold dates can be downloaded from the Internet Archive    Italic dates have been a featured show