JAZZ REVIEW : Corea Reserves All His Spark for the End of Elektric Show

How’s this for a paradox? For most of the two-set concert with his Elektric Band at the Orange County Performing Arts Center on Thursday, keyboardist Chick Corea seemed less energetic, less alive than he did last March when appearing at the Coach House with his Akoustic trio.

It wasn’t until the group’s final encore that Corea generated some spark. Backed by bassist John Patitucci’s breakneck walk and searing cymbal work from drummer Dave Weckl, Corea cut loose with his best work of the night, alternately singing and squealing, playing off as well as to the swirling pace.

Before that, the keyboardist, despite some inspired moments from his band, seemed to just go through the motions. His short improvs and electronic decorations lacked the inventive fire that he had brought to the acoustic concert.

Maybe it was the material. The Akoustic Band mined a host of standards--”On Green Dolphin Street,” “How Deep Is the Ocean?,” “Sophisticated Lady”--the kind of familiar stuff that lets an accomplished musician such as Corea really explore his potential.

Thursday’s concert, the first in a nationwide tour to promote a new album, “Beneath the Mask,” concentrated on original numbers for the electric unit. Several times during the evening, the keyboardist referred to the concert as “a rehearsal.”

Against fuming smoke and a colorful backdrop pulled from the new recording’s cover, the band balanced funky, up-tempo workouts and pleasant, sometimes impressionistic excursions. Though one expects a certain accessibility in material written for an electric context, there was little improvisational challenge. At its best, the music provided an integrated framework for dialogue and interplay that, despite Corea’s rehearsal pronouncement, the band handled with wit and agility.

It opened with the title tune from the new album, a jumpy, upbeat number established on Patitucci’s cocky strut. The bassist showed his meddle playing to the gaps in Corea’s solo, while saxophonist Eric Marienthal took a defiant stance during his soprano solo, mixing long, springy lines with warbles that recalled a schoolyard taunt. Guitarist Frank Gambale worked a polished sound on “Little Things That Count,” forgoing flash for lyrical runs and bent-note accents. “99 Flavors,” a piece Corea dedicates to a shoulder-hung keyboard, found him stalking the stage, riffing and bending notes shamelessly after a promising, celestial-like introduction.

That this is one of the best electric instrumental bands around was apparent from the beginning. Weckl’s strength and inventiveness matched with Patitucci’s mind-blowing onslaught of ideas and technique carried tunes that sometimes differed little from each other. Gambale and Marienthal provided tight ensemble play during the themes and contrasting, often fascinating improvisational styles.

Only Corea seemed uncomfortable, his playing more considered than inspired. Too bad, because as he showed during the concert’s final minutes, when he’s on, the results can be absolutely electric.