JAZZ REVIEW : Woodard’s Be-Bop Perspectives

There’s been a great deal of talk lately about jazz “neo-traditionalists”--performers who are re-examining the improvisational styles of the pre-fusion era. Although most of the more visible players seem to be centered on the East Coast, Southland saxophonist Ricky Woodard has been quietly creating his own new perspectives on be-bop.

At the Hyatt Sunset Hotel’s Silver Screen Room Thursday night, Woodard converted his late set into a virtual jam session (one which was energetically received by several groups of well-known rock musicians, stopping by for a jazz pick-me-up after completing their own gigs at much larger venues). Working with Dwight Dickerson on piano, Larry Gales on bass and Ralph Penland on drums, Woodard kept it simple with such improvisers’ favorites as “Star Eyes,” “ ‘Round Midnight” and “Secret Love.”

The program started somewhat awkwardly, with Dickerson rambling a bit on “Star Eyes,” and Woodard playing the alto like a tenor saxophonist who hasn’t yet quite grasped the sound of the smaller instrument. But everything fell into place after two or three choruses, especially for Woodard, who began to soar with real Bird-like intensity.

His tenor work flew even higher. When Woodard had to sacrifice the microphone to Gales halfway through the set, he played even better without amplification, his rich and fluent tone unaltered by electronic manipulation.

Gales’ vocal feature on “ ‘Round Midnight” creaked in spots but resonated with the clarity of phrasing jazz instrumentalists always seem to bring to their singing. Penland was, as always, solid and to-the-point, contributing several solos that wrought sheer rhythmic magic from a minimal set of drums.

The Woodard quartet continues its survey of the be-bop style at the Silver Screen Room tonight.