Jazz : Williams Doesn’t Disappoint

James Williams doesn’t appear in the Southland very often, so his two-night appearance at Marla’s Supper Club Friday and Saturday was a much-anticipated event.

In Friday night’s opening set, the Memphis-born pianist, a veteran of, among others, the fervently idiosyncratic Art Blakey band, quickly demonstrated that he possesses a thoroughly original style.

For the most part, it was a striking, sometimes almost contrary blending of techniques: Ahmad Jamal-like rhythm accents contrasted with long, loping be-bop runs; rhapsodic, full-pedal chording suddenly interrupted by pounding, Cecil Tayloresque clusters; and, in virtually everything, a strong seasoning of the blues. Yet, despite the diverse sources that provided ammunition for his improvisations, Williams’ weaponry was never less than unique, never less than a highly personal expression.

His choice of material--despite the presence of a band made up of local musicians--was equally distinctive, especially in its unwillingness to fall back on the safely familiar icons of the jazz repertory. Pieces like Nat Adderly’s “The Old Country,” Billy Pierce’s “Patchouli” and Williams’ own “Four Play” and “Road Life” were solid jazz items, with demanding melody lines and provocative chording.

Williams was somewhat less well-served by his musical associates, whose work frequently betrayed the familiar problems caused by too little rehearsal time. Trumpeter Oscar Brashear warmed to the task quickly, moving from an early hesitancy to his familiar strong, elegant melodizing. Saxophonist Jesse Sharp was more enigmatic, contrasting aggressive outside playing with harmonic uncertainty.

The rhythm team of bassist Richard Reid and drummer Chester Thompson, however, left little to be desired, once they found their groove. Reid’s rock-solid foundation was particularly valuable to the eclectic Williams’ piano style, and Thompson supplied understated accompaniment, as well as highly imaginative soloing.