JAZZ REVIEW : A WHOLE LOT OF FUSION AT THE BOWL

The JVC Jazz Festival, in its third annual incarnation at Hollywood Bowl on Sunday evening, squeezed more jazz into four hours than most jazz festivals can in 20 minutes.

That’s not to say that there wasn’t an abundance of quality music presented by groups led by saxophonist Michael Brecker, and keyboardists Chick Corea and Joe Sample, the latter sharing leadership duties of the Crusaders with saxophonist Wilton Felder. It is merely to suggest that calling Sunday night’s concerted efforts jazz is akin to calling a suicide jump from a bridge aeronautics.

Nonetheless, the minifest did expose 12,605 patrons to a sense of what’s going on in the high-energy, jazz-rock fusion field.

Brecker, whose credible performances have been heard on some 400 albums, performed an hourlong set that differed little from that heard (and reviewed here favorably) at his West Coast debut in May.

Although hardly returned to his Philadelphia jazz roots, the 38-year-old John Coltrane/Sonny Rollins-influenced saxophonist managed to show innovative progress from his forbears’ efforts. He managed to develop a modern style that leaned on--as opposed to depended on--contemporary style (rock) and modern technology (electronics). Guitarist Mike Stern, a formidable talent weaned simultaneously on Charlie Christian and Jimi Hendrix, made some amazing contributions, as did drummer Adam Nussbaum and whiz-kid pianist Joey Calderazo.

The Chick Corea Elektric Band was the evening’s most astonishing act. With a high-tech stage setup--it even spewed smoke--that looked more likely to lift off than provide sound, Corea led his four cohorts through intelligent musical forays that intrigued, as well as satisfied. If ever a definition for tight was needed, this band, with its breakneck tempo and demanding schedule of unison melodies, could provide it.

Bassist John Patitucci and saxophonist Eric Marienthal had bright solo moments as drummer Dave Weckl and guitarist Frank Gambale held the undercurrents solidly together.

The Crusaders made a couple of uneven attempts at returning to its jazz roots via “Blue Ballet,” a trumpet feature with the exceptional Eddie Davis and a ragtime effort by Sample and percussionist Lenny Castro. The group’s acquired R&B; roots overwhelmed and the band was left with some tired tunes with the heavily vibratoed vocals of Reichii Guillory to close the concert.