JAZZ REVIEW : The Source of That Marsalis Talent

Ellis Marsalis may be best known these days as the father of jazz Wunderkinder Wynton and Branford Marsalis, but he’s got a few musical credentials of his own as well.

Tuesday night at Catalina’s, in the opening set of his first-ever nightclub engagement in Los Angeles, the New Orleans pianist revealed a deft and agile be-bop-based style. Leading a quartet that included a young New Orleans saxophonist named Victor Goines and the ever-dependable local rhythm team of Tony Dumas on bass and Ralph Penland on drums, Marsalis performed a rousing collection of straight-ahead modern jazz improvisations.

The selection of material was broad and demanding--from ballads like “Body and Soul” and “Emily” to jazz standards like “Two Bass Hit” and an occasional original. Marsalis moved effortlessly from piece to piece with a strong emphasis on his highly active right-hand figures. He was particularly effective during a smooth and easy trio excursion (with Dumas and Penland) through “The Very Thought of You.”

Goines, whose skills are still growing, struggled here and there with pitch problems and an occasional harmonic misstep, but when he hit his stride--most noticeably so on a Monk-like blues by Alvin Baptiste--he was very good indeed.

Predictably, the set was activated by Dumas and Penland, who have a remarkable ability to illuminate and energize the playing of visiting musicians. When, after one or two numbers, the quartet was still trying to get out of first gear, Penland shifted his drums into overdrive on the blues-styled “Bittersweet” and propelled the music into the fast lane. On “Syndrome” and “Two Bass Hit,” the duo laid down a rhythmic surge that was a guaranteed cure for the musical stresses and strains of opening night.

The Marsalis quartet continues at Catalina’s through Sunday.