{"id":3685,"date":"2026-07-07T04:15:59","date_gmt":"2026-07-07T04:15:59","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3685"},"modified":"2026-07-07T04:15:59","modified_gmt":"2026-07-07T04:15:59","slug":"herb-alpert-the-tijuana-brass-whip-it-good-at-the-hollywood-bowl-returning-after-59-years-for-a-great-sugar-rush-of-a-show-concert-review","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3685","title":{"rendered":"Herb Alpert &#038; the Tijuana Brass Whip It Good at the Hollywood Bowl, Returning After 59 Years for a Great Sugar Rush of a Show: Concert Review"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<div>\n<div>\n<p>\n\tThe Hollywood Bowl was by no means a lonely bowl Sunday night, as Herb Alpert &amp; the Tijuana Brass returned to pack the storied venue for the first time in 59 years. The Brass\u2019s Cahuenga Pass comeback came not a moment too soon, with the band leader proudly bragging about his age\u2026 as one does, and should, when one is this undiminished by the years. \u201cThis is a dream come true for me,\u201d Alpert crowed. \u201cI never thought I\u2019d be doing this at 91.\u201d <\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3683\">\u2018Dutton Ranch\u2019 Breakout Natalie Alyn Lind on Sobbing Over That Murder, Discovering Oreana\u2019s Life-Changing News and Season 2 Plans<\/a><\/p>\n<p>\n\tSome of the rest of us might have imagined it, if only because Alpert clearly has the best shot of any of us of living forever. But the odds were longer that he\u2019d be doing an official Tijuana Brass show at this age, or any age, because he previously hadn\u2019t shown much interest in reviving his 1960s band brand as a concept for an entire tour. Family members and business partners convinced him that if he built this more purposefully nostalgic a show, they would come, in bigger numbers and with more of a heightened sense of celebration. The prophecy came true last fall, when Alpert and the Brass sold out all shows on a theater tour that climaxed in November in a buzzy pair of appearances down the street at the Dolby Theatre. Clearly it was time to move the party uphill this summer, to a venue where the sense of time travel could be all-encompassing. Alpert at the Bowl, doing a nearly all-\u201960s set, feels like a case of game recognizing game.<\/p>\n<p>\n\tIt\u2019s tough to imagine how this show would strike someone who had not grown up with a copy of \u201cWhipped Cream and Other Delights\u201d in the family living-room cabinet. Would it have the same impact for someone who had no idea what \u201cLaugh-In,\u201d \u201cThe Dating Game,\u201d \u201cWhat\u2019s My Line\u201d and the other television shows seen in clips on the overhead screen were? We could have run a survey and actually asked some of the younger folks at the Bowl whether the music registered as strongly to them as it does to those of us who get most of the nostalgic associations. But we were too caught up in the communal bliss to take a poll of random kids. Our best guess is that there might be a little bit of recognition for the youngest generations, too, watching all those clips \u2014 as in, <em>Holy cow, Austin Powers was real!<\/em> And the music itself? Nothing could be more tied to a specific time period than the Tijuana Brass\u2019 short catalog. But surely anyone hearing these tunes and these arrangements for the first time would recognize the spark of joy. No one since the end of the T.B. era appears to have thought to use the sound of three trumpets playing in unison (or, alternately, two trumpets and a trombone), unaccompanied by vocals, as the basis of smash-hit pop music. But, hearing that sprightly style revived now, it sure sounds like it could heal the world.<\/p>\n<p>\n\tSunday night\u2019s show began with a surprise introduction, a crowd-pleasing appearance that went on long enough, it pretty much counted as an opening act: a laudatory speech by fellow pop legend and one-time Alpert protege Paul Williams. \u201cThere\u2019s nothing to worry about,\u201d Williams told the audience, \u201cbut Herb left his horn at home.\u201d (That wasn\u2019t true, but it\u2019s possible there was some stalling involved; a few folks in the audience couldn\u2019t help but notice that when Alpert and his musicians did make their way to the stage a bit later, it was literally just moments after the Mexico-England World Cup game ended. Coincidence? We\u2019d waited 59 years for this, we could wait an extra five minutes.)<\/p>\n<\/div>\n<\/div>\n<p>\n\t\u201cNow, how many of you knew that A&amp;M Records started out in a garage?\u201d Williams asked. \u201cHerb Alpert and Jerry Moss in a garage on a handshake. And you can hear all the attorneys in the audience \u2026 the clenching of teeth at the thought of that, but, but don\u2019t be like that, because look at all the contracts you worked on through the years because A&amp;M Records attracted everybody.\u201d Williams recounted the familiar story of how Alpert vowed to start his own indie label after having his hand slapped by an engineer when he touched the board at a mixing session. \u201cI wonder how many nights that engineer couldn\u2019t get to sleep, remembering that he had slapped Herb\u2019s hand\u2026 Herb thought, basically, shouldn\u2019t the artist always have a voice in what happens with his music? And,\u201d added the songwriter-turned-ASCAP chief, \u201cI would take that into 2026 and say, \u2018Shouldn\u2019t he always be paid for it?\u2019 Shouldn\u2019t he have a right to say no if you try to train your computers with it? But so Herb\u2019s whole thing was artists first.\u201d<\/p>\n<p>\n\tThankfully, Williams\u2019 jovial remarks marked the last time anyone mentioned or even thought about 2026.<\/p>\n<p>\n\tAlpert and company took the stage, inevitably, with \u201cThe Lonely Bull,\u201d the top 10 hit that started everything for the artist and the newly minted A&amp;M label in 1962, followed by hits and deeper cuts whose titles were meant to reinforce the Latin flavor he was bringing to the charts: \u201cMemories of Madrid,\u201d \u201cSpanish Flea,\u201d \u201cBittersweet Samba,\u201d \u201cMexican Shuffle,\u201d \u201cTijuana Taxi\u201d\u2026 Those horn-driven songs made 1960s Americans imagine friendly mariachis, but what is striking any time the band takes the stage on this tour is how minimal an ensemble it is, with just two horn players besides the star, although it was easy to imagine many more when those needles were first settling down in dusty grooves. With Alpert being 91, he could easily have gotten away with handing more of the solos over to his brassy compadres \u2014 Kris Bergh on trumpet and Ryan Dragon on trombone \u2014 but the frontman was steady in still pulling his full weight, to the delight of a crowd that quickly realized Alpert is in no danger of raising the same concerns that have come up with so many pop vocalists losing steam in their 80s.<\/p>\n<p>\n\tAlpert, who mostly performed seated along with the other two horn players, turned his swivel chair around on a couple of occasions to indulge in his favorite pastime on this tour: pointing to the different players in the band to indicate their turn at soloing. \u201cEvery night it\u2019s different, because they don\u2019t know when I\u2019m gonna call on \u2019em,\u201d he told the audience, and besides the brass, that resulted in effective turns in the spotlight for Bill Cantos on piano and marimba, drummer Ray Brinker, bassist Hussain Jiffry and guitarist Kerry Marx. (None of these were part of the Tijuana Brass in the \u201960s, but for a group that hadn\u2019t performed under that name for 40 years when this tour began in 2025, Alpert being the only point of continuity was to be expected.) <\/p>\n<p>\n\tWhen it came to marrying song to image, possibly the most delightful example came in hearing \u201cThe Mexican Shuffle\u201d accompanied by vintage footage of the Teaberry chewing gum commercials that used the song as an instrumental jingle in the mid-\u201960s, with people in everyday situations suddenly breaking into fancy dance steps \u2014 something it\u2019s enduringly easy to imagine happening when Tijuana Brass music comes on, if not as a reaction to gum.<\/p>\n<p>\n\tAlpert went post-\u201960s and post-TB for only two selections: \u201cRoute 101,\u201d from 1982, and most notably \u201cRise,\u201d signaled as a late \u201970s hit for Alpert with the appearance on the Bowl\u2019s screen of a giant mirror ball, even if the Billboard No. 1 from 1979 wasn\u2019t really all that disco-y. It was a chance to get expansive in every way, dropping the signature sound of the rest of the set for stretches that had more of a pure jazz flavor, including an epic piano solo from Cantos that took up a good and deserving portion of the number\u2019s nine-minute length.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3681\">Amazon\u2019s New \u2018Tomb Raider\u2019 Video Game Star on Becoming Lara Croft, Sophie Turner\u2019s TV Series and the \u2018Really, Really Big\u2019 Adventure Coming in \u2018Catalyst\u2019<\/a><\/p>\n<p>\n\tHaving \u201cRise\u201d go on so delectably long helped compensate for the extreme brevity of some of the \u201960s singles, like the two-and-a-half-minute \u201cCasino Royale\u201d theme, which seemed over nearly as soon as it\u2019d begun. Short or not, Alpert fans were pleased it was included at all, since it wasn\u2019t part of the show when he was last seen in these parts at the Dolby. \u201cUp Cherry Street\u201d was another pleasant surprise in the setlist, having been introduced only this year in the important spot of encore-closer.<\/p>\n<p>\n\tWhat the Bowl audience didn\u2019t get that the L.A. audience did last fall was any multi-song appearance by Alpert\u2019s wife, Lani Hall, although she literally loomed over the proceedings in frequent lovebird two-shots projected on the big screen. Alpert also did a little less talking than he did at the Dolby; it could have used more of his storytelling, but there was just enough in this less-talk-more-rock show. Alpert talked about \u201cLadyfingers\u201d becoming an unlikely contemporary hit with hundreds of millions of streams (not actually mentioning the Notorious B.I.G. recording that sampled and re-popularized his hit, \u201cHypnotize\u201d); he spoke about how Al Hirt passing on the chance to record the instrumental \u201cWhipped Cream\u201d led to his biggest album (and, needless to say, one of history\u2019s great album covers). He introduced charming vintage clips that excerpted conversations with Louis Armstrong and S\u00e9rgio Mendes. And he reminisced about the last time the Tijuana Brass played the Bowl (as opposed to his solo appearances), in 1968, when Marlon Brando asked him and his group to open a fundraiser for the Martin Luther King Christian Leadership Conference that had Barbra Streisand and Harry Belafonte sharing the bill.<\/p>\n<p>\n\t\u201cPerforming with those two great artists,\u201d Alpert said, \u201cI had to do something that would get us noticed somehow. So against my manager\u2019s advice, I did something that nobody wanted me to do. I was right there in the top where the sound equipment is, and I walked down the stairs singing \u2018This Guy\u2019s In Love With You\u2019 in a white suit\u2026. Would you guys sing that song with me? If you don\u2019t think you can sing, just sing it out and have fun with it\u201d \u2014 which might have been the advice he\u2019d given himself, recording that as his only vocal hit, as a self-confessed non-singer. \u201cAre you game? I guarantee you, if you do it and don\u2019t care about how you sound, you\u2019ll be in the exact moment of your life, OK? We\u2019re gonna do it, right? Wait a minute. What key do you guys do it in?\u201d he joked.<\/p>\n<p>\n\tAfter a plug for the \u201cstuff back there you don\u2019t need,\u201d meaning the merch whose sales go entirely toward funding his Herb Alpert Foundation, the star mused about the setting, and how far he\u2019d come, which didn\u2019t escape him now any more than it did in \u201967. \u201cI can\u2019t believe I\u2019m doing this because, what the heck, you know? Some of you know my history. I was born in Boyle Heights. I made my way. I went to Melrose Grammar School and Fairfax High School and USC, UCLA, and Alcatraz. You applauded on that. I tricked you.\u201d<\/p>\n<p>\n\tThe lighter-than-air feel took on some humidity just once, when he and the band performed Charlie Chaplin\u2019s \u201cSmile\u201d as a built-in In Memoriam segment, with a photo montage of four key departed figures in his life, Mendes, Karen Carpenter, Burt Bacharach and A&amp;M partner Jerry Moss. Ironically or otherwise, these might have been the only three minutes in the evening when most of the audience didn\u2019t have ear-to-ear grins, smiling like we\u2019d never known such a thing as heartbreak in their lives. <\/p>\n<p>\n\tAlpert has lived a charmed, and charming, life, hardly having lost a step since the days of sideburns and turtlenecks, literally, in a gig that found him literally dancing off the stage rather than taking multiple bows. Whatever magic elixir he\u2019s been drinking from might rub off by osmosis: This is the kind of show you walk out of feeling like it\u2019s just added 10 years onto your life.<\/p>\n<p>\n<strong>Setlist for Herb Alpert &amp; the Tijuana Brass at the Hollywood Bowl, July 5, 2026:<\/strong><\/p>\n<p>\n\tThe Lonely Bull<br \/>The Work Song<br \/>Memories of Madrid<br \/>Whipped Cream<br \/>Spanish Flea<br \/>Ladyfingers<br \/>Lollipops and Roses<br \/>Bittersweet Samba<br \/>Mexican Shuffle<br \/>Tangerine<br \/>(I\u2019m Getting) Sentimental Over You<br \/>Love Potion No. 9<br \/>This Guy\u2019s in Love With You<br \/>Route 101<br \/>Rise<br \/>A Taste of Honey<br \/>Zorba the Greek<br \/>Smile<br \/>Casino Royale Theme<br \/>What Now My Love<br \/>A banda<br \/>Tijuana Taxi<br \/>Up Cherry Street<\/p>\n<p>\n<strong>Remaining 2026 tour dates:<\/strong>\n<\/p>\n<p>\n\tJul 28 Dominion Energy Center \u2013 Richmond, VA<br \/>Jul 29 Grand Opera House \u2013 Wilmington, DE<br \/>Jul 30 State Theatre \u2013 New Brunswick, NJ<br \/>Aug 01 Appell Center for the Performing Arts \u2013 York, PA<br \/>Aug 02 Hanover Theater \u2013 Worcester, MA<br \/>Sep 14 Tennessee Theatre \u2013 Knoxville, TN<br \/>Sep 15 Brown Theatre \u2013 Louisville, KY<br \/>Sep 16 Clowes Memorial Hall \u2013 Indianapolis, IN<br \/>Sep 18 Michigan Theater \u2013 Ann Arbor, MI<br \/>Sep 19 Orpheum Theatre \u2013 Madison, WI<br \/>Sep 20 Orchestra Hall \u2013 Minneapolis, MN<br \/>Oct 17 Alberta Bair Theater \u2013 Billings, MT<br \/>Oct 18 Dennison Theatre \u2013 Missoula, MT<br \/>Oct 19 Wacholz College Center \u2013 Kalispell MT<br \/>Oct 21 Fox Theatre \u2013 Spokane, WA<br \/>Oct 22 Bellingham WA<br \/>Oct 23 Chan Centre \u2013 Vancouver, BC<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3679\">Sky\u2019s ITV Deal Gives U.K. Producers Hope But U.S. TV Distribution Could See Adverse Ripple Effect<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Herb Alpert &#038; 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