POP MUSIC REVIEWS : Sax Man Converses in 2 Musical Languages, Eloquently : In Huntington Beach with Jim DeJulio’s trio, Red Holloway shows he is as soulfully fluent in be-bop as he is in the blues.

Saxophonist Red Holloway is bilingual: He’s fluent in the musical languages of be-bop and the blues.

He played the blues on recordings with guitarist Otis Rush, harmonica player Shakey Horton and the late bassist Willie Dixon for the Chess and Vee-Jay labels in Chicago in the ‘50s. Then, as house bandleader at the now-defunct Parisian Room in Los Angeles during the ‘70s and ‘80s, he worked alongside such notables as Jimmy Witherspoon.

He practiced be-bop during his association with sax great Sonny Stitt, also in the ‘70s and ‘80s, and as a member of organist Jack McDuff’s quartet in the ‘60s when it featured a guitar giant in the making--George Benson.

Holloway--who currently travels the globe from his home in Cambria on the Central California coast--blended his two musical tongues skillfully Sunday afternoon at Maxwell’s where, just back from Norway, he was a special guest with bassist Jim DeJulio’s trio. Playing alto and tenor saxes, Holloway selected material that suited his versatile, ever soulful style.

About half the numbers were slow, steamy ballads, ideal grist for Holloway’s earthy mill. He comically introduced “Lover Man” by saying, “Ladies, this is what all men think they are,” but his interpretation was no laughing matter. His passionate delivery on alto of the plaintive melody made one think of Billie Holiday’s compelling vocal renditions and fellow altoist Charlie Parker’s soaring versions of the song.

Holloway was commanding, shifting slyly between blues phrases that grabbed a listener’s attention, and complex, rocket-fast, curving lines that exemplified the be-bop improvisational approach. With a resilient singing sound that reached all corners of the room without benefit or need of amplification, he would play portions of the timeless theme. Then, instead of long, held-out notes, he would offer gushing strands of tones.

Similarly emotional were his versions of “Body and Soul,” where his tenor sax sound was robust, and “Sweet and Lovely.” Holloway also put his gutsy mark on Milt Jackson’s famed blues, “Bags’ Groove,” barking out the first few notes, then mixing in funky remarks with twisting, turning statements.

Pianist Paul Smith establish the mood, comping with elan and soloing with gusto, delivering perky single note lines that had a strong indigo flavor and block chords that danced rhythmically.

Bassist DeJulio took several first-rate solos, exhibiting a warm, bold sound and playing ideas that, like Holloway’s, were both bluesy and vigorously modern and listenable. Drummer Jim DeJulio Jr., the bassist’s son, also offered firm support.