JAZZ REVIEW : A Worthy Big-Band Theory : A 16-piece ensemble demonstrates leaders’ fine composition abilities and soloing in a convincing El Matador show.

With expenses up and opportunities to play few and far between, why would anyone keep a big band together these days?

The answer was apparent Wednesday at El Matador as a 16-piece ensemble under the direction of trombonist Dave Slonaker and pianist Mike Patterson took the bandstand. These guys aren’t in it for the money. For them, a big band is a labor of love.

“We’re both composers, arrangers and orchestrators,” said Patterson, after Wednesday’s first set, “and the band gives us a chance to show off our writing. We’re committed to having a band, with creative soloists, that plays mostly originals and, sometimes, our arrangements of standards.”

Both men have written for film and television as well as other jazz artists. Slonaker’s originals are performed by trumpeter Clark Terry’s band, and Patterson has penned scores for a host of documentary films. Both have written for the Woody Herman orchestra.

Though the band rehearses infrequently and has appeared only twice since last year (in March at El Matador and last summer at Bon Appetit in Westwood), it gave a solid performance that accomplished both its leaders’ goals: showcasing the composing abilities of Slonaker and Patterson, while featuring accomplished soloing from band members.

As writers, both Patterson and Slonaker showed fondness for contrast, with light passages from flutes and muted horns balanced with full-blown brass salvos. Unusual combinations--say, bass clarinet or baritone sax wrestling with trombones--gave way to more traditional orchestration that recalled the smoother sounds of the swing era. And there was plenty of dialogue between soloists and the horn section, or between the saxes, trombones and trumpets.

Bassist Don Kasper introduced the opening tune, Slonaker’s “Easy Does It,” with an unaccompanied walking line, setting up an airy statement from flutes, muted trumpets and trombones. As the tune moved ahead with a Henry Mancini-like sophistication, abrupt blasts from the brass tempered the cool mood. Trombonist Alex Iles glided through a reserved, contemplative solo, before turning over the spotlight to trumpeter Steve Huffsteter, who added a rangy, assertive improvisation.

Patterson’s “Question of Balance,” driven by drummer Jack Le Compte’s insistent though understated cymbal work, featured saxophonist Ray Herman, on soprano, stating uneasy phrases that were echoed by the horn section. The exchanges became more intense, and Herman more assured, as the horn section upped the dynamic ante before moving into a rousing climax.

Solo standouts included Ron Kings’ trumpet antics on Patterson’s arrangement of Clifford Brown’s “Daahoud,” and Lee Callet’s bari sax ramblings on Slonaker’s “Dog Day Blues.” Bob Sheppard pushed his alto sax through a steamy version of Kenny Dorham’s “Blue Bossa,” and Rob Lockhart on alto flute added clarity to Patterson’s thoughtful “Vision.”

There were a few rough spots during ensemble passages, something to be expected from a band that gets together this infrequently, but they didn’t detract from the evening’s overall polish. Patterson’s electric keyboard was, for the most part, lost in the mix, and it may be time for El Matador to bring in an acoustic piano for this kind of engagement. But our hat’s off to the restaurant for hosting this kind of group. If only more venues would start booking big bands.