BURRELL: FOOLPROOF GUITARIST

Kenny Burrell, who brought his guitar into the Hyatt Sunset on Wednesday evening, encountered problems that would have defeated a lesser man, yet managed to overcome them without even showing the discomfort he must have felt.

The odd casting system that sometimes operates in this room juxtaposed him with Sam Most, who plays flute and tenor saxophone, and who had never before worked or even rehearsed with Burrell. More seriously, Most’s microphone refused to cooperate during the first part of the set, rendering him almost inaudible.

Fortunately, the guitar amplification was not affected. By the time Most’s sound had been recaptured, the audience had been treated to a superlative example of the continuity and cohesion that long ago established Burrell as one of the literally foolproof guitarists--as Webster defines it, guaranteed to operate without breakdown or failure under any conditions.

After a few minutes of “testing, one, two, three. . . , “ Most switched to alto flute, on which his breathy, staccato style has a very distinct personality. “I Love You” was a stimulating vehicle for him and for the captivating, leaping lines of Burrell, who continues to reflect such inspiring influences as Charlie Christian and Oscar Moore.

The rhythm section provided unified support as well as powerful individual contributions. Art Hillery is a Bud Powell pianist whose crisp articulation and use of space bring meaning to every solo. John Heard, the painter and sculptor, still finds time to remind us that he is also one of the preeminent jazz bassists.

Tootie Heath on drums confined himself to easygoing brushwork except for the closing “Night in Tunisia,” for which he switched to sticks in a relatively restrained and rhythmically witty solo. On this number Most took up his tenor sax, from which he extracted a muddy but generally agreeable sound.