JAZZ REVIEW : Rippingtons Fall Short in Real Life

True to his publicity material, Russ Freeman has scrapped drum machines in favor of a genuine human drummer, along with drastically reducing his reliance upon synthesizers.

These two steps are in the right direction. But Freeman, guitarist and leader of the Rippingtons, has yet to figure out how to take his pop jazz band to its full live potential. This was evident Friday night at Humphrey’s Concerts by the Bay, where the band opened a national tour in support of a new album, “Curves Ahead.” The Rippingtons’ audience filled about three-quarters of the seats for each of two shows at the 1,200-seat Humphreys, according to Humphrey’s producer Kenny Weissberg.

“Curves Ahead,” the fifth release from the Rippingtons, proves Freeman’s knack for writing memorable melodies that evoke strong visual imagery, mostly of the rugged outdoor places that inspired them. These songs easily could serve as a sound track for a Sergio Leone western starring Clint Eastwood.

Most bands are at their best in concert, where musicians are looser than in the studio, and they often extend their solos. But unlike some bands, the Rippingtons, at least so far, have been at their best in the studio, where Freeman can carefully control every musical nuance, right down to improvised breaks.

In concert, Freeman’s songs--mostly from “Curves Ahead” and its predecessor, last year’s “Welcome to the St. James Club”--grew longer, but not better. Many of Freeman’s five band mates--especially saxophonist Jeff Kashiwa--claimed spotlight solo time. But these spontaneous bursts rarely developed into anything bright or engaging.

Kashiwa’s presence became especially annoying as the night wore on. He is a good enough musician, adept at piggybacking with Freeman’s guitar on a melody. But when it comes to soloing, Kashiwa is of the over-dramatic, mushy school-of-Kenny G. And Kashiwa can’t touch Kirk Whalum, who is a guest on two cuts of “Curves Ahead.”

It was too bad that the music took such digressions, because Freeman’s songwriting grows stronger with each new Rippingtons release.

Among the tunes featured from “Curves Ahead”: “Santa Fe Trail,” with Freeman’s guitar crying out over a Brazilian beat with the plaintive urgency of a New Mexican coyote; “Snowbound,” Freeman’s personal favorite, a mood piece with Freeman’s guitar and Kashiwa’s sax drifting atop a gentle rhythmic current that flows in and out of two different time signatures, and the album’s title track, on which drummer Tony Morales, bassist Kim Stone and percussionist Steve Reid laid down a granite rhythmic foundation for Freeman and Kashiwa’s controlled ramblings.

The main problem with the Rippingtons in concert is Freeman. This is his band, and he needs to take a more assertive role as a front man, instead of handing off so many of the solos. On this tour’s opening night, he didn’t seem entirely at ease or adequately rehearsed. And his fingers betrayed him with bloopers, never equaling the electrifying moments on “Curves Ahead.”

Even if the band wasn’t in top shape, the audience warmed to the occasion. But concert-goers were left with an unsatisfied hunger for one more. After the band closed its first show with “Dream of the Sirens” and left the stage, a persistent standing ovation lured them back. But Freeman informed the audience that with a second show coming up, Humphrey’s management wouldn’t allow an encore.

It was 8:40, with the next show scheduled for 9. Surely, the Rippingtons could have squeezed in one more of the many 5-minute cuts from “Curves Ahead.”

Maybe next time.