As a card-carrying member of the club that believes the world — and certainly the West Coast — is in dire need of strong, dedicated jazz clubs, I was excited about the buzz around the club Libretto in Paso Robles. Here, in an elegantly appointed entry in the classic basement jazz club tradition, an impressive roster of jazz artists, some of household name renown, perform in a pristine setting before a respectful listening crowd.
All the pieces are in place in this modest but welcoming jazz haven, founded by intrepid music loving entrepreneur and pianist Corey Jordan — born and raised in Paso and returned after a 10-year Los Angeles stint with his wife, Kate.
To back up: What’s this, a model jazz club in the center of Paso Robles? The city was once characterized as a cowboy town, an unfair and incomplete stereotype. In the comforting embrace of the Libretto, the closest encounter to cowboy culture might be if a musician opted to channel Sonny Rollins’s version of “I’m an Old Cow Hand.”
It’s fair to say that a dominant reckoning force has made an urban-style enterprise like the Libretto, and the general transformation of Paso Robles in general possible: Blame it on the wine. The vast expansion of the wine industry in Paso Robles over the past decade and change — with 200-plus wineries in a region where there were 35 a decade ago — has turned this formerly sleepy and semi-rural Central Coast city into a magnet for tourism, wine enthusiast thronging, and such unexpected signs of civility as a true-blue jazz club.
Considering these factors, it made sense to make a recent pilgrimage to Paso for a 36-hour “close escape” geared around the potent forces of jazz and wine. I timed the trip according to the Libretto calendar, noticing that the stellar and storied pianist John Beasley — one of the finest pianists based in Los Angeles, with strong European ties — would be holding court with his trio in the club. They did not disappoint.
Neither did our winery repasts, framing the jazz night out. Our palates and bellies were suitably pampered through dream visits to Presqu’ile in Santa Maria, on the way up, and at Paso’s Villa San Juliette the next day. We decamped overnight in the large new and comfortable Oxford Suites (don’t miss the ample breakfast), sampled wine and atmosphere at the Hotel Cheval’s Pony Club and dove into a jumbo gourmet pizza at Della’s for dinner, pre-show.
Although the family-owned Presqu’ile is situated less than two miles off the 101 corridor, the compound feels like a world away, in the best way. The winding verdant property is crowned by an enchanting hilltop restaurant and tasting zone with a panoramic and untrammeled view all the way to the ocean. Cuisine-wise, we were treated to the lavish and healthy Chef’s Mezze Picnic, with savory flavors converging in new ways, and an ingredient list including vegetables and herbs from the nearby garden. Our tasting flight highlighted other products of the property: 2021 chardonnay, pinot noir and syrah from the in-house vineyards and a special secret stash taste of the nebbiolo, my favorite.
It was a different story and scene at Villa San Juliette, nestled in another hilltop perch — off in the picturesque Estrella District AVA northeast of Paso proper. The winery is the pet project of Ken & Julie Warwick and Nigel Lythgoe, British entertainment entrepreneurs responsible as the architects of TV’s American Idol, as we quickly learn from reports and photographic evidence in the gift shop. Enchanted with the region, they bought the winery in 2005 and elevated its status into an award-winning operation.
Of the flight offered us, the favorites came with the imprimatur of high ratings from Wine Enthusiast: the 2023 pinot gris and especially the 2021 Alicante Bouschet. From chef Rachel Ponce’s menu, my Shrimp Po’ Boy paired nicely with the rosé of grenache and my wife, Peggy, once again beat me on the healthy fare index, with the locally sourced and evocatively-hued Beet Hummus. We were lulled into an extended stay on the compound with a view, far from any madding crowd — only the sizable crowd gathered here on a lovely Saturday afternoon.
Meanwhile, on the jazz case, I caught up with Libretto’s creator Jordan the morning after my memorable Libretto hang at his other “day job,” running the hip and popular coffee spot Amstrdm. It was here that Jordan, a classically trained pianist himself and audio engineer, first started performing and inviting fine musicians to play, during the COVID haze. He was then presented with the option of taking over the basement location, the former basement of the Paso Robles Opera, and Libretto was off and running — and ideally fitted with a special Steinway D nine-foot concert grand.
Emboldened by the sophisticated clientele lured to the city via the vines, the enterprising Jordan heeded the edict “build a classy jazz club, with a fine piano, and they will come.” But there were important distinctions: The 62-seat club involves a members-only plan during the week, with public-invited weekend sets. Jordan, who became acquainted with the L.A.-based musician scene during his period spent there from 2008 to 2018, understands the needs of traveling musicians and has an apartment for the visitors above Amstrdm.
When Beasley brought his superb and flexible Circle Trio to the space last month, the pianist told the crowd, “I was here a year ago. As soon as I walked in and saw the piano, I thought, ‘This is the place.’”
This was most definitely the place for any level of jazz fan to be on this October weekend in this town. Beasley and his empathic comrades — bassist Edwin Livingston and drummer John Davis — demonstrated an unusually deep degree of empathic dialogue over two sets. Livingston walked the critical fine line of support, interplay and intriguing solos. Beasley’s playing was ever fluid and alert, and he engaged in some fiery, free-spirited riff-swapping with drummer DK. A varied set list touched on some of Beasley’s musical connections and projects over the years, starting with the opening take on “I Hear a Rhapsody,” with a sly quote of Miles Davis’s sing-songy riff from “Jean Pierre,” a nod to Beasley’s own work with the late period Davis in 1989. On a sensitive balladic take on Thelonious Monk’s “Ask Me Now,” Beasley channeled his accoladed way with Monk, as heard in his venturesome MONK’estra Big Band.
From another big-band angle, he led his trio through a tune from his new Corea tribute album Return to Forever, with his arrangements delivered by the Frankfurt Big Band (an album that earned two Grammy nominations last week). He folded in alternate chords and harmonies on “Maiden Voyage,” by one of his obvious influences, Herbie Hancock. Late in the second set of the night, the trio dove into the heady turf of Joe Henderson’s “Serenity” and the late, great Wayne Shorter’s “Marie Antoinette.” By then, the trio had loosened and heated up, while navigating the tight turns and structural frameworks that mattered.
For a taste of Beasley’s business in this enlightened room, he will return with his “Holidazed Jazz Trio” on December 15. Other shows of notes this year: the excellent vocalists Jane Monheit (Dec. 5) and Sara Gazarek (Nov. 22), pianists of note Tamir Hendelman (Dec. 8) and Gregg Karukas (Dec. 14), the Mike Garson Trio (Dec. 19) and stellar vibraphonist Tyler Blanton (Dec. 13).
Although I was thoroughly enjoying the moment and the place and the music at Libretto, a certain nagging thought kept tickling my mind. Call it jazz club envy: Why can’t Santa Barbara have a spot like this?
For now, this special space warrants a stop or a dedicated trip up the 101. Make it a 36-hour getaway. Or more, wine and jazz budget permitting.
