Symphony Review

L.B. Pops swings into new season
Krajewski and crew serve up
a crowd-pleasing big band bonanza
By John Farrell Correspondant

They say you have to swing into a new season

The Long Beach Symphony Pops Orchestra and Principal Pops Conductor Michael Krajewski took that instruction literally Saturday night at the Long Beach Arena, inaugurating the symphony's ninth season along with a concert that provided a crowd-pleasing two hours of the best of swing-era music.

Krajewski, joined by the talented Capitol Quartet and vocalist Michael Andrew, produced an evening that was billed as a tribute to Frank Sinatra but managed to include such swing-time greats as Benny Goodman, Count Basie, Duke Ellington, Glenn Miller and Tommy Dorsey as well.

There was a time when big band and swing music was just a nostalgic diversion, but recently a new generation has discovered the pleasures of music that is lively, energetic, tuneful and full of the driving and varied rhythm that puts the "swing" ' in swing.

There is more to swing music than just playing the charts accurately: there is a level of energy, an almost-instinctual something that is necessary for the music to work. Krajewski clearly has that something, that swinging lilt that makes Goodman and Basie and Ellington more than just warmed-over memories. Leading from the piano on Basie's "One O" Clock Jump,'' Krajewski reminded everyone that he is an accomplished musician as well as a comic and conductor. At moments like these you may wish he could star instead of sharing the stage with other performers.

And you might wish just to hear the talents of the Long Beach Symphony Pops Orchestra, which were featured on several numbers in Saturday's large program. Trumpeters Andrew Ulyate, Marissa Benedict and Steve Charpie, for instance, were soloists, blowing in true jazz style, in "Bugle Call Rag." '

But in the event, Saturday's soloists were equally attractive. The Capitol Quartet, soprano saxophonist Kenneth R. Foerch, alto saxophonist Anjan G. Shah, tenor saxophonist David B. Stambler and baritone saxophonist David A. Lewis, came on in clothes styled from the 1940s, including long watch chains and two-toned shoes, and showed just how good four saxophones can play together. They played their own jazz arrangement of Beethoven's "Fur Elise" ' with effect, but were even better on other numbers, including "Birth of the Blues." ' They produced together a rich sound that shimmered like their instruments, and was only occasionally betrayed by the Arena's still unreliable sound system. Their four musical voices balanced well with the orchestra, which acted more as a partner than just a back-up band.

Michael Andrew has said that he was born too late. His fascination with the vocal sounds of big band singers like Frank Sinatra, Tony Bennett and Bobby Darin has been the major influence on his highly successful musical life.

Andrew sings not in imitation of the singers he loves, but in a similar style. He can caress a note with Sinatra's flair and makes every syllable matter, but the interpretation, whether in "Mack the Knife," ' the Kurt Weill-Betold Brecht song that Darin rode to a hit, or in "One for My Baby," ' the Johnny Mercer-Harold Arlen song that Sinatra made a trademark, is purely Andrew's.

Swaying onstage in a tight-fitting, shiny suit, Andrews knows how to caress a lyric and Krajewski, from the podium and the piano keyboard, knows how to offer perfect assistance.

The orchestra ended its solo duties Saturday with a lively rendition of the Benny Goodman classic "Sing Sing Sing" ' with plenty of jump and energy, and then Andrews, the Capitol Quartet and the orchestra brought the house down with Ellington's "It Don" t Mean a Thing, If It Ain't Got That Swing.'' It was a great way to swing into a new season.

John Farrell is a San Pedro free-lance writer.