On May 14, UC Irvine’s Claire Trevor School of the Arts showcased its talented jazz students from the Jazz Ensembles: Small Jazz Groups in Winifred Smith Hall. Three jazz combos of different styles performed for a packed house as the audience tapped their feet and bobbed their heads to the tunes. The jazz program was notably versatile in its song selections, offering the audience a roller coaster of classic jazz and original self-composed music.
The jazzy night opened with a fittingly casual introduction to the jazz program, with program coordinator Michael Dessen running out on stage and speaking. After the introduction, the lights above the audience dimmed and the first jazz combo walked out quietly and humbly.
The 2 p.m. combo, directed by Professor Sasha Berliner, was the first to start the concert. A long silence followed the technical setup and brief tuning before the group jumped into the first piece. This group’s performance consisted of covers of renowned jazz pieces along with the musicians’ improvisations. Their setlist was composed of a traditional genre of jazz — just the kind one might expect to hear at a classic jazz bar.
Then, with a loud bang of a piano chord, the audience fell into the groove of Joe Henderson’s upbeat song “The Kicker.” The audience’s heads whipped from left to right across the stage in reaction to the captivating improvisations the musicians performed.
This group’s pianist, Ethan Mach, delivered an exceptional improvisation, strategically jumping between jazzy chords up and down the piano. This young pianist nodded his head in great satisfaction at his note choices and even expressed a stank face in reaction to the results of his strategic piano playing.
In the middle of the first combo’s set, more mellow pieces were played, like “Goodbye Pork Pie Hat” by Charles Mingus. Though this song could easily lull a crowd to sleep, the audience in the room that night was mesmerized by the melodies resonating throughout the auditorium. Many swayed in admiration of the musicality and artful tones of the instruments.
Graduating senior and spokesperson for the group Anthony Aguilar entranced the audience with his beautifully mastered tone — a smooth, warm baritone richness flowed from his shiny saxophone. In “Goodbye Pork Pie Hat,” he showcased his intricate tone placement on the saxophone, scrunching his brows and closing his eyes — not just to hear, but to visualize the notes he planned to play next — reflecting his experience and seniority in jazz music theory.
Closing strong and spirited, the group of seven young musicians smiled through the entire seven minutes of Horace Silver’s “Nica’s Dream” as the music moved through their bodies.
The second group of the night, instructed by Professor Darek Oles, presented a carefully selected quartet of saxophone/flute, saxophone, bass and drums. The songs that this group presented also fell under the umbrella of classic jazz. However, the overall style and tone of the setlist differed from the prior group in that it delivered explosive rhythms and intense chord progressions that brought the audience to the edge of their seats.
The second song of their set, Clifford Brown’s “Daahoud,” established this refreshing and captivating tone as the musicians tried their best to keep up with the fast-paced piece. This song escalated the stakes of musicianship, as the musicians’ collective expression of hard labor after each piece gave away how much of a challenge the songs were to perform. They huffed and puffed during and after the performance, embodying the stamina and willpower that come with the craftsmanship of jazz.
One notable solo from this group’s performance was Jacob Casper’s powerful bass playing. As the other three musicians faded into silence, leaving the spotlight to Casper, he filled the auditorium with the moody, deep echoes of his bass. The group was also graced with the multitalented touch of Tiffany Wu’s exceptional flute and saxophone expertise. Alternating between the flute and saxophone for each song — and even within one song — Wu’s talent emanated a great passion for the art of jazz. During her solos, she often closed her eyes to strategize the next progression, whispering into the slim silver flute.
The chemistry of this small group was also undeniable. In the midst of the crescendoing, clustered parts of songs, the bandmates exchanged reassuring glances to align their energies and rhythms. Before their last song, the musicians invited the audience to sing a jazzy version of the “Happy Birthday” song for their prized player Wu’s 21st birthday, celebrating their shared companionship and appreciation.
This moment truly showcased the appreciative community that emerged from the learning and connections fostered by UCI’s jazz program. And true to their intensive, fast-paced setlist, they ended their performance with John Coltrane’s “Liberia.”
Perfectly selected to wrap up the night, Sasha Berliner’s 4 p.m. combo performed original compositions that showcased the jazz program’s evolving mission to nurture and train future musicians who will carry forward the rich melodies of jazz. After performing a traditional jazz piece, Maddox Eckert on drums introduced the group members and the debuts of the self-composed songs.
First up was trombone player and singer Idun Carling’s “Necromancer,” which offered an enchanting melody of a saxophone and trombone solo. Additionally, it featured a short and sweet singing solo by Carling herself. Multitalented in all her ways, the music flowed through her body as she swayed left and right while singing her segment in a heavily influenced jazzy tone with a whimsical vibrato and light scatting.
“Don’t Forget the Funk” by saxophone player Daniel Lazzaretto served as a great transition from the mellow rhythms of Carling’s original song to a more upbeat pace. In this song, a trombone solo by Carling was spotlighted, followed by an emotionally charged bass solo by Brennan Sakata that would segue to the next song.
Composed by pianist Nathaniel Fong, “There Are Some Flowers No One Will See” captured the exuberant chemistry of this group as they all nodded and smiled in mutual respect and admiration for each other’s improvised musicality. This song balanced the styles of jazz and classical music, offering major key chord progressions that exude a light, happy sound, evoking a more joyful emotional experience for the crowd.
Taught by globally recognized jazz faculty, UCI Small Jazz Groups continue to showcase the program’s rigor while advancing the rich legacy and musicality of jazz on a global stage.
Cameryn Nguyen is an Arts & Entertainment Staff Writer. She can be reached at camerynn@uci.edu.
Edited by Drew Askeland and Jaheem Conley