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    Rare Birds

    School superheroes: Branford Marsalis & Joey Calderazzo make sure music doesgood in H-Town

    Chris Becker
    Mar 22, 2012 | 1:34 pm
    • Joey Calderazzo, left, and Branford Marsalis
      Photo by Stephen Sheffield/Marsalis Music
    • David LaDuca, executive and creative director of Music Doing Good
      Courtesy Photo

    Music and the arts in pre-college education are the first things to go due to state deficits and blowhard politicking. Several music and arts organizations in Houston with strong educational programming, including Musiqa, Writers in the Schools, and Young Audiences of Houston, work tirelessly to provide arts-integrated learning in some of this city's most financially challenged schools.

    Friday night at The Hobby Center for the Performing Arts, Houston organization MusicDoingGood presents pianist Joey Calderazzo and saxophonist Branford Marsalis in concert, as a duo, to benefit MusicDoingGood in Schools, which serves students 7 to 18 in after-school educational programs. Participating musicians and artists for all of the above mentioned organizations steel themselves to work with underprivileged, and often behaviorally challenged kids.

    And I know from working with and interviewing some of these folks that the work is challenging, yet rewarding.

    LaDuca and other staff identify a worthy charity, in the areas of health, music, education, or children, and craft a special concert fund raising event for the charity that describes its mission and tells its story through music.

    It is work that is being done well here in Houston. In another column, I quoted Discovery Green programming director Susanne Theis as saying, "Houston is way behind in getting credit for its accomplishments, but hopefully, it's catching up." Theis was referring to the programs and alum of Houston's High School for the Performing and Visual Arts, where "jazz is taken as serious . . . as classical music," but her quote definitely describes the work being done by the organizations I've named.

    Executive and creative director David LaDuca describes the 7-month-old MusicDoingGood as being devoted to "philanthropy through music." LaDuca and other staff identify a worthy charity, in the areas of health, music, education, or children, and craft a special concert fund raising event for the charity that describes its mission and tells its story through music. Previous concerts include last January's REVEALED: Unplugged, with tenor Kenneth Gayle and pianist Gary Norian performing a set of original songs to benefit the Montrose Counseling Center and December 2011's Bells in the Spiritual Tradition, Song and Celebration at the Rothko Chapel to benefit Casa de Esperanza de los Ninos, a safe house for children in crisis.

    Friday's concert with Marsalis and Calderazzo benefits MusicDoingGood in Schools, an after-school, multi-disciplinary class designed to support core curriculum. Current MusicDoingGood in Schools students at Alexander Hamilton, Wheatley and McGregor will be a part of a special production entitled "Now You Has Jazz," to be presented on May 10 at Zilkha Hall at The Hobby Center. Non-profit charitable organizations interested in partnering with MusicDoingGood can download an application from the MusicDoingGood website.

    Friday's concert will feature compositions from Calderazzo and Marsalis' latest album Songs of Mirth and Melancholy, available on the independent label Marsalis Music. Having played these songs together now for more than a year, Calderazzo promises "some more mirth with the set . . . we've split the difference."

    He describes the church in downtown Durham, N.C. where the album was recorded as "the perfect room," with microphones carefully placed to capture its natural reverb, compelling Marsalis at times to move the bell of his horn away from the mics for occasional dramatic effect.

    The album's original compositions take inspiration from great melodic geniuses including Schubert, Mahler and Chopin, one cut being a straightforward rendition of the Johannes Brahm's lieder "Die Trauernde." The melodies are startling in their beauty, realized by Marsalis on both tenor and soprano, his soprano tone in particular even fuller and richer than what I hear on classic 1990s recordings like The Beautyful Ones Are Not Yet Born.

    There's a great interpretation of Wayne Shorter's "Face on the Barroom Floor," and the opening "One Way," a Calderazzo original, that references great ragtime, boogie-woogie, and stride piano players, contemporized by way of Thelonious Monk. The album's last cut, "Bri's Dance," manages to sound both strict and unpredictable, its relentlessly morphing melodic and rhythmic dialog somehow held in place by a cantus firmus of specific chords (Calderazzo knocked them out for me over the phone, but I'm still not able to keep up with this tune!)

    It's a great record. And with each track being a "first or second take," one should expect a tight set full of surprises on Friday night.

    MusicDoingGood presents The Branford Marsalis and Joey Calderazzo Duo, 8 p.m. Friday at Zilkha Hall at The Hobby Center. Tickets are $35. To purchase tickets, visit TheHobbyCenter.org or call 713-315-2525.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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