Ludwig van Beethoven may have written it, but the honor of conducting the Ninth Symphony in the ultra-modern setting of the Walt Disney Concert Hall fell to David Benoit. He was backed by a full orchestra and a chorus of 400, all of whom sang their hearts out.
Benoit, who resides in Palos Verdes when he’s not residing on the road (because he’s still an in-demand jazz artist), has been the Music Director and Conductor of the Rolling Hills-based Asia America Symphony Orchestra since 2001. Not long after that he turned around and formed the Asia America Youth Orchestra. Their inaugural concert was held ten years ago – in April, 2002.
It’s the latter ensemble we’re going to pay more attention to, because just hours ago this writer was at an undisclosed location listening to those kids rehearse for the concert they’re giving on Friday, April 13, at the James Armstrong Theatre in Torrance. It’s an annual event, and the program this year features snippets from various scores by John Williams – “Star Wars,” “Jaws,” “Indiana Jones,” etc. – and excerpts from Mussorgsky’s “Pictures at an Exhibition.”
Most of the young musicians live in the low-lying areas of the South Bay, as well as on the PV Peninsula, and have studied with accomplished teachers. The result is a consistently high-quality orchestra, year after year, and it wouldn’t be a stretch to say that it could hold its own against many community orchestras across the country.
Among the evening’s other draws is a spanking-new violin concerto by Benoit himself. Conspiratorially, the interviewer leans closer: What are you calling it?
“It’s called ‘Music for an Electric Violin and Jazz Symphony’,” Benoit replies, “and Jessie Chen will be featured on the – probably amplified – violin. It’s a very jazzy piece; it’s not a classical piece.
“It’s in my own style of writing which is kind of funky and jazzy, but for the violin, which is not an instrument usually written for jazz. What’s nice about writing an original composition for the youth orchestra, you kind of write for the group. You know their strengths and weaknesses, and try to write for their strengths.”
For example, he continues, “we have a lot of brass this year, so I wrote a lot of brass. Some years we don’t [have a strong brass contingent].” Electric guitars and bass are also abundant this season, “so I wrote for that, and tried to make it a piece that would fit the group well.”
“Got Talent,” which is the title of the April 13 concert, also highlights soloists Sara Sithi-Amuai performing Haydn’s “Trumpet Concerto in E-flat – Finale Allegro” and Wes Wubbena performing Grieg’s “Piano Concerto in A minor – Allegro molto Moderato.” Of particular note is “Hero Tale” by Wataru Sugihara, who plays trombone in the youth orchestra. It’s a warm, lively, sensitive composition. A special Benoit touch is the inclusion of “Spain” by celebrated jazz composer Chick Corea.
A fork in the road
David Benoit and I were both kids when he premiered his classical piece “Kobe” at Marsee Auditorium. Written as a tribute to the Japanese city that was ravaged by an earthquake in 1995, not in honor of a certain basketballer, “Kobe” was proof positive that Benoit had aspirations and talent to be more than a pianist boxed into the category of smooth jazz.
“That was sort of my audition for the orchestra,” Benoit says of the piece. “I wasn’t the conductor at that time; I was trying out.” It was evident, he says, that he could draw an audience. On the other hand, he notes, “they knew I was inexperienced as a conductor and composer but they saw the potential. Now we’ve really grown the thing and had some great artists (including the Ahn Trio, Lea Salonga, and Sadao Watanabe) and so I’ve been very happy that they’ve been happy with me.”
Being involved with the two orchestras has also enabled Benoit to evolve and experiment as a composer.
“My friend Kent Nagano, the great maestro, said: Make sure that every season you write at least one piece for the orchestra, ‘cause you have that opportunity. Some years it’s been [for] the youth orchestra, but I have written for the larger orchestra a few times and then [for] some smaller ensembles.”
Benoit has his own trio, and in fact they performed with ukulele sensation Jake Shimabukuro this past February at Zipper Hall in L.A. It was the first concert of this year’s four-concert season of the Asia America Symphony Association.
Are you still doing film scores?
“I still do,” Benoit replies. Most notably, his movie music includes “The Stars Fell on Henrietta,” which was produced by Clint Eastwood and starred Robert Duval. “I did a couple of small features last year. I wish I were doing more, but it’s tough as a concert artist when you’ve made your commitment to tour. What I’ve found is that a lot of directors don’t care about your touring; they want you all to themselves.
“What I’ve seen, especially doing the major films, is that that has to be a pretty big commitment, so I’ve always kept the live performance and concert touring as my main thing. Like I said, I get an occasional call for an independent film, and I love doing it, but that’s kind of how it’s been going.”
Translation: John Williams shouldn’t think about retiring just yet.
What would you do more of, if you didn’t have such a busy schedule? Would you do film scores or would you write larger compositions?
“I would write longer compositions, definitely,” Benoit says without any hesitation. “And I’ve thought about that. I’ll be turning 60 in another year and a half, and maybe that might be the year to take some time off the road.”
“Kobe,” in fact, was his last expansive composition, although there have been numerous shorter pieces since then. Because he’s been so thoroughly steeped in both the world of jazz and the world of classical music, Benoit has the knowledge and inner resources upon which to draw and then create compelling work for the symphonic hall.
No slowing down yet
What is inspiring you these days? What is sustaining your passion for music?
“Right now,” Benoit says, “a lot of the musicians that are crossing over from classical to jazz are inspiring me. I’m very inspired by Gustavo Dudamel; I mean I just love him and what he’s doing, and he’s so young, and he has such a passion for music. And Yo-Yo Ma. Some of these musicians are just so outstanding, and nice people, and giving so much to music.
“Definitely those two come to mind. Then there’s some great young jazz artists. I think the key thing is being innovative and mixing things together and trying new things.”
In the meantime, it’s been nearly two years since his last album, “Earthglow.” Considering that Benoit’s been fairly prolific – over 25 solo recordings, including the Grammy-nominated “Every Step of the Way” – that’s been quite a while. Fortunately, his newest album, “Conversation,” on Concord Records, is set for release on June 1.
Benoit has other projects up his sleeve, including the imminent – May 4 – concert that features Filipino tenor Antoine Diel performing at Zipper Hall with members of the Asia America Symphony Orchestra and Youth Orchestra. We are promised “a journey of various musical styles from Broadway to Opera, Cabaret to Pop.”
What Benoit seems to be looking forward to most of all is the final concert of the season, to be held on June 29 at no less a prestigious venue than the John Anson Ford Amphitheater in Hollywood.
“This’ll be the first time I’ve been the featured soloist with our regular symphony, the professional players,” Benoit says proudly.
He’ll be wearing several hats on that occasion, not only playing his own compositions (old and new) and then rushing back to the podium, but celebrating his musical influences over the years. “The heroes that I grew up listening to,” he says. “So it’ll be Leonard Bernstein and Aaron Copland and Henry Mancini – the people that shaped my identity as a musician.
“And then the other thing is, I’m getting some interest from some of my friends – well-known jazz artists – that want to come and sit in. So there’ll be some guest artists and surprises.”
The Asia America Youth Orchestra, conducted by David Benoit, presents “Got Talent” at 8 p.m. on Friday, April 13, in the James Armstrong Theatre, 3330 Civic Center Drive, Torrance. Preferred seating, $40; general seating, $30. Call (310) 781-7171 or go to AsiaAmericaSymphony.org. ER
