JAZZ REVIEW : Horiuchi Runs Gamut of Styles

Despite some obvious skills as both a pianist and composer, Glen Horiuchi, who played a one-nighter at the Catalina Bar & Grill in Hollywood, has yet to focus his creative energies.

In an overly long opening set played to a mere handful of patrons Wednesday night, Horiuchi offered a series of nine of his own compositions that ran the gamut of jazz styles. An opening “Dance for Nisei Hipster” was a boppish swing piece that led the way to a couple of blues, a ballad or two, a pair of tunes with atonal aspects and, finally, a rock-oriented piece.

Though no compositional consistency was evident in the opening set, there was a thread of continuity that came in the form of emotion. “Seeds of Resistance,” “Manzanar Voices,” “Blues for Okada” and “Issei Spirit” each displayed a disturbing anger that lessened the effect of Horiuchi’s melodic and harmonic efforts. It was as if the young composer’s political views took precedence over his musical statements.

“Issei Spirit” began without rhythm or tonality as Horiuchi played a wooden flute against the bass of Taiji Miyagawa. With a thundering din of Leon Alexander’s drums, Horiuchi moved to the piano for what sounded like an assault on the keyboard.

That, in contrast with a very pretty sound on the ballad, “Warm Spring,” created the conflict of styles that lent to Horiuchi’s musical identity problem throughout his opening set.

Alexander’s drumming throughout the set was good, as was Miyagawa’s bass playing, despite the latter’s intonation problems. The sound balance between the players was poor on every outing except the ballads.

Horiuchi would do well to more closely examine his musical options and, at this point in his career, limit himself to a singular style in which he can find the best mode of expression.