JAZZ REVIEW : Frank Morgan Charts New Territories for ’91

“Isn’t it great to be alive?” said Frank Morgan to his audience Tuesday evening at Catalina Bar and Grill in Hollywood. His Happy New Year attitude was reflected in his work throughout a set that revealed new advances in the evolution of this nonpareil alto saxophonist.

When Morgan came back to prominence in the late 1970s, his debt to Charlie Parker was almost constantly in evidence. Today, though that basic influence is still detectable, he takes his horn into new territories, seemingly more secure about his own identity.

Surprisingly, the show opened (and closed) with a gentle, mysterious ballad, “Lullaby,” penned by his pianist, George Cables. For his second number, Morgan negotiated the modal labyrinth of Wayne Shorter’s “Footprints,” scaling tonal walls and climbing down them in a constantly adventurous solo, then standing by during Cables’ admirable solo but adding occasional stabbing notes like exclamation points.

There were two blues, both Parker-inspired: “Billie’s Bounce,” with drummer Albert (Tootie) Heath indulging in witty four-bar exchanges, and a slow, pleading “K.C. Blues,” with invaluable support by the veteran virtuoso bassist Andy Simpkins.

Even when Morgan played one of the more overworked standards--”Night in Tunisia,” “All the Things You Are”--he would find some new avenue through which to approach and modify it. His phenomenal technique was never abused; in fact, now and then he would switch back from a restless improvisation to an almost straight reminder of the melody.

In short, Morgan provided the sound of surprise, which, some observers feel, is what jazz is all about. At 57, he is still experimenting, still bringing to his listeners a sense of that joie de vivre that seems to drive him today more passionately than ever.

* Frank Morgan Quartet: Catalina’s, 1640 N. Cahuenga Blvd., Hollywood. (213) 466-2210. Through Sunday.