JAZZ REVIEWS : MATSUI PROJECT

It was never quite clear during the Kazu Matsui Project’s program at the Beverly Theater on Saturday night whether the intent was to find a musical focus or to provide the backdrop for a rhythm & blues showcase.

With singers parading in front of the spotlights in almost nameless profusion (there were five, all tolled, as well as two back-up performers) the stage was occasionally reminiscent of a busy night on “Star Search.”

Matsui, who played a few numbers on the Japanese Shakuhachi flute, modestly described himself as a “producer,” and he did, in fact, assemble a stunningly proficient nine-piece musical ensemble. Unfortunately, he elected to squander its skills for a good part of the evening in providing well-crafted, but essentially anonymous funk backgrounds for singers Carl Anderson, Phil Ingram, Marva King, Greg Walker and Terry Bradford.

Anderson, best known, perhaps, for his role as Judas in the film version of “Jesus Christ, Superstar,” sounded smooth as honey, and was especially appealing on the lyrical “A Drop of Water.” King’s four songs, despite their silk and satin tones, simply help make the evening too long, and the performances of the other singers, despite occasional quality moments, tended to blur into each other.

Ironically, Matsui gave far too little producer’s attention to the most unique talent on stage, his wife and keyboard player, Keiko Matsui. Looking deceptively small and fragile, dressed in pure white, with a doll-like face and a demure manner, Keiko Matsui nonetheless dominated the stage both visually and musically.

Her synthesizer work on “Light Above the Trees” and “Mediterranean Sand” was good enough to suggest a comparison with a notable predecessor. Call her the Toshiko Akiyoshi of fusion, and hope that Kazu Matsui’s future producer’s judgment will give more careful consideration to the real talent which is, quite literally, on his doorstep.