“Los Angeles Jazz Company, is dedicated to preserving and learning from our past so that we may support and enhance our future.” LAJC
On Tuesday July 23rd, I was invited to the historic Avalon Theater in Hollywood to witness some incredible dancing brought to the stage by Los Angeles Jazz Company. Their show “The Time Is Now” produced by Jackie Sleight and Will Thomas, is a tribute to the jazz dance legends of the not-so-distant past. Dancers, choreographers and teachers all, this group includes Roland Dupree, Hama, Paula Kelly, Joe Bennet, Louis DaPron, Claude Thompson, Ben Lokey, Michael Peters, Jaime Rogers and Joe Tremaine, who were among the best and most important jazz dance influencers of their era.
LAJC – Will Thomas & Hannah Hawkins in their duet “What I’ve Done Right” – Photo: @cancillascamera.
Sleight and Thomas pulled out all the stops by welcoming the sold-out crowd with a “step and repeat” photo set up, lots of swag, plates piled high with delicious snacks at each table and bars located strategically throughout the lobby. The theater interior was awash in red, gold and white hues with active screens surrounding the stage and cool background music filling the air. The party atmosphere added to the anticipation of a great night to come and indeed it did.
The show blasted off with “Little Big Band” a swinging live 6-piece band of fabulous LA musicians. While most of the music for the show was well produced needle drop tracks, the band played several live pieces and many interstitial segments throughout. This included the finale and the red-hot exit music which kept many audience members dancing in the aisles until the last note.
With twenty dance pieces and a choreographed bow it is impossible to review each piece but suffice to say there wasn’t a bad moment in the nearly two-hour show. However, some choreography stood above the crowd. “Black and Gold” by choreographers Jackie Sleight and Will Thomas opened the show with a bang and set a very high bar for what was to follow. The tune by Breanna Whitaker starts quietly and builds to a crescendo of sexy jazz and hot horn licks underscored by the constant beat of the rhythm section. The choreography mirrored the music perfectly never missing a beat or an accent all while following the rolling build of the big band sound. With terrific staging and clean and very precisely syncopated movements the ten performers appeared to be having a blast while dancing “full out with feeling” and just about bringing the crowd to its feet and this was just three minutes in! Classical jazz dance at its best was a fabulous way to start the show.
LAJC – “Dig In” by Michael Rooney – Photo:@cancillascamera.
Al Blackstone brought an amusing take to “Put A Lid On It” by The Squirrel Nut Zippers. He knows how to tell a story through dance and how to engage the audience. He hears the music and uses it with well-defined and well executed jazz moves. Blackstone brings a sense of ease to the movement that allows the performers to relax and have fun and we in turn have fun too.
“Stand By Me,” by Ben E. King, an old chestnut of the American R&B catalogue, brought another clean and rigorous piece by choreographer Will Thomas. This time the terrific “Little Big Band” played live with vocals by Ali Llacer. Thomas fuses the dance with the music so that one cannot seem to exist without the other. He uses the stage fully and once again the dancers were completely committed to every move yet never seemed labored. Thomas has a way of keeping the audience fully engaged as each pattern moves effortlessly into the next. Simple as it seems a highlight was a flawless group triple pirouette that got its own applause. Unfortunately, momentum was lost near the end when the movement lapsed into a short freestyle segment, which felt out of step and kept this piece just shy of being one of the best of the night.
Sleight’s “On That Note” music by Rob Mullins was another stand out classical jazz piece, as was the lead into the intermission “My 1st, My Last, My Everything” a Sleight-Thomas piece set to the music of crooner Michael Buble. Needless to say, the audience was walking on air as they took a break and got ready for ten more numbers to come.
LAJC – “El Gato Triste” by Jackie Sleight – Photo: @cancillascamera.
Opening the second half was “El Gato Triste” music by Chuck Mangione with choreography again by the tireless Jackie Sleight. Smooth Latin jazz is the name of the game here and Sleight uses it to the benefit of the dance and for its soothing effect on the audience. As previously stated, she knows how to build the dance to match the build of the music and this piece was no exception. Clean, strong and sexy this was a perfect way to get back into the groove.
“Crazy Rhythm” was a sweet moment of tribute to Joe Tremaine, one of the most important and beloved “Jazz” teachers and choreographers of his era. Nicely performed and nicely choreographed it was a riff on sailors and their girls. Seeing his work was meaningful and appreciated.
“Blackbird” by the always interesting Tyce Diorio with music by Donnie Farris was intriguing. Dressed in black with bowler hats and gloves dusted with glitter, the dance had a mysterious style that drew the audience in to its odd mood. Diorio has a knack for clever staging, quirky moves and offbeat time signatures which all came interestingly to the fore in this piece.
“Time Is Now” was another high point again perfectly choreographed by Sleight and Thomas to music by Brian Molko. This gem featured the full company at their exuberant best. Hitting every accent with finesse and authority this was yet another highlight.
LAJC in “The Time Is Now” by Will Thomas – Photo: @cancillascamera.
With this many choreographers and twenty plus dance numbers this could have looked like a recital but it did not. Ms. Sleight and her team kept the stage moving seamlessly at all times up to and through the terrific finale “Good Morning” featuring vocalist Ali Llacer and the “5th Ave. Gospel Choir,” along with the full cast of dancers and the smoking hot live band. The energy in the room created a symbiotic wave of love for the art of “Jazz Dance” flowing from the audience to the stage and back again until the last note was played and the stage went black.
Jackie Sleight and her co-producer Will Thomas have hopes of taking this show on the road. I can only say for classical “Jazz” dance lovers everywhere I hope they can make this dream come to fruition. It is time!
Each choreographer brought their own magic to the stage. This impressive list also included, Hannah Hawkins, Jason E. Bernard, Eric Sanchez, Brandon Leffler, Daisy McMillen, Sienna Lyons, Michael Rooney, Christian Vincent, Chase Benz, and all those mentioned above.
The technically facile and fantastically hard-working company dancers were; Annabelle Maliwanag, Bel Housner, Brandon Lefler, Charles Fournier, Claire Ross, Cole Neville, Daisy McMillen, Ellie Soto, Emily Madden Ferney Georges, George Lawrence II, Hannah Hawkins, Jaden Mooney, Jake Kepper, Jayce Mya Piper, Marin Rylee, Mark Daftari, Mark Ibanez, Maya Ristovski, Melissa Bremner Quezada, Olivia Liberati and Rachel McKinnell.
To learn more about Los Angeles Jazz Company, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: LAJC in “The Time Is Now” by Will Thomas – Photo: @cancillascamera.
