Jazz Reviews : Sal Marquez Surveys Be-Bop Era at Vine St.

One of the most valuable legacies of jazz’s be-bop era is the collection of music--much of it composed by Charlie Parker, Miles Davis, Dizzy Gillespie and Thelonious Monk--that continues to be a vital source of inspiration for improvisers.

Trumpeter Sal Marquez is a talented and determined bopper who has been making a valiant effort to re-examine be-bop with a group he calls, appropriately, Birdland Revisited. Monday night at the Vine St. Bar & Grill, in one of his weekly appearances at the room, Marquez offered a select sampling of the compositions and the improvisational style he values so highly.

Kicking the set off with a slow-starting but vigorous romp through “Solar,” Marquez played a stylish, Harmon-muted solo reminiscent of Davis’ crisply articulated work of the early ‘50s. “Ornithology,” a familiar bop variation constructed on the chord changes of “How High the Moon,” followed with a strong-strutting solo from tenor saxophonist Jim Marentic.

The standard “What’s New?”--a ballad favorite for jazz players of all styles--was less appealing, suffering a bit from a lack of cohesion in the rhythm section. Two final pieces, improvised on the familiar and much-loved chords of the blues and “I Got Rhythm,” showcased Marquez’s whirlwind up-tempo improvising.

By the time the set concluded, it was clear that the be-bop foundation on which the trumpeter’s music is based represents a sturdy support for a rapidly evolving musical personality. Marquez’s playing may find its inspiration in the ‘40s, but his creative eye is focused on the future.

In addition to Marentic’s dependable tenor work, Birdland Revisited includes Frank DeLaRosa on bass, George Gaffney on piano and Billy Osborne on drums. The group continues regular appearances at the Vine St. every Monday night.