JAZZ REVIEW : Ann Patterson’s Maiden Voyage Sails at Rancho Santiago College

With all the note-taking going on, it looked like the audience was filled with critics Sunday during the performance of Ann Patterson’s Maiden Voyage at Rancho Santiago College’s Phillips Hall. But the scribblers in the crowd were students of jazz history, and Patterson’s outfit gave them, as well as those there just to listen, plenty of learning opportunities.

Because of scheduling conflicts (regular trumpeter Stacy Rowles leads the Jazz Birds in Glendale on Sundays), trumpeter Roy Wiegand, bass trombonist Ken Kugler and bassist Monty Budwig integrated the usually all-women, 17-piece ensemble. These last-minute additions had little effect on the performance other than to point out how foolish it is to review Maiden Voyage as a women’s band rather than just a band.

A wide variety of material was performed during the long set, all with first-class charts. Opening with a warm trombone and tenor-sax theme statement on Sammy Nestico’s arrangement of “Fascinatin’ Rhythm” (Nestico himself started out playing trombone), the group showed how important orchestration is to its success.

Every member, in addition to serving as an individual solo voice, also is a colorist, lending the right tone to ensemble play. This meant the trumpeters were switching between that instrument, cornet and fluegelhorn while the reed-section members were constantly leaning over to pick up flutes, clarinets or other saxophones. The result was a surprisingly pleasant sound with plenty of dynamic variation and punctual support for soloists.

Clever arranging adds more than just tonal interest. The band took the familiar tune “When You’re Smiling,” and, thanks to Tom Kubis’ intelligent charts, turned it into something exciting, filled with unexpected melody twists and tempo turns. “Someday My Prince Will Come” opened with vibist Judy Chilnick and pianist Kathy Rubbicco suggesting “The Wedding March” with bell-like tones before the band jumped into the melody at a furious clip.

Because it was well up in the sound mix, Budwig’s bass played a central role in the evening’s business. The bassist displayed a rich tone, a firm, assured walk and a tendency to work the instrument’s entire range. “Chattanooga Choo Choo” featured Budwig’s resounding theme statement paced by his snappy, low-end accents.

Another standout was keyboardist Rubbicco, whose “Uptown New York” was the evening’s most forward-looking number. After an edgy series of chords that were driven by drummer Jeanette Wrate, Rubbicco moved her solo into some sophisticated swing. Patterson added a sharp, but short, street-smart alto solo that was a model of logical construction.

Valve trombonist Betty O’Hara put a warm, earthy vocal to “God Bless the Child,” backed by Judy Chilnick’s four-mallet vibraphone work. O’Hara, along with trumpeter Anne King, was featured on “I’m Getting Sentimental Over You,” King’s clean theme statement matched by O’Hara’s expressive lines. King played crisply throughout the evening, showing some be-bop inflections and the ability to play fast with control.

Vocalist Julie Kelly joined the group for a quartet of numbers, best of which was Jobim’s “One Note Samba.” Kelly has a pleasant voice with lots of dynamic range and an ear for rhythm. An improvised blues had her sleeping in a hollow log while trumpeter Louise Baranger added a soulful lament.

Our only quibble with the evening was that there wasn’t enough chance to hear Patterson. The former lead alto with the Don Ellis Orchestra and occasional featured soloist with the Capp-Pierce Juggernaut, has a poetic way with a solo and a smooth, agreeable tone on soprano. She should give herself more space.

The evening began with sets from two groups sponsored by the college, each named for the night it holds practice: the Monday Jazz Ensemble directed by Chris Merino, and the Wednesday Jazz Band directed by jazz history instructor Ben Glover.