JAZZ REVIEW : Patitucci Pitches In on 2-Bass Hit : The setup gives him a chance to step out in front and shine with the Luther Hughes quartet in Huntington Beach.

The last time we saw bassist John Patitucci play in Orange County was in October at the Performing Arts Center when, as a member of keyboardist Chick Corea’s Elektric Band, he stole the show.

Thursday he was back, this time in the more intimate confines of El Matador, sitting in with fellow bassist Luther Hughes’ quartet. Patitucci, again on six-string electric, responded to the standing-room-only sized crowd with a virtuosic performance that combined, in his first set, two originals with numbers from three contemporary-minded composers.

The two-bass setup gave Patitucci a chance to step out front while Hughes built the foundations. He took full advantage, stating themes in clean, almost guitar-like tones from the upper range of his instrument while soloing in crisp, often lyrical fashion. That Patitucci is a technical wizard is no secret. Here, he put those skills to use, telling melodious, sometimes involved, stories that moved to modern rhythms.

The group opened with Patitucci’s “Searching, Finding,” an intense exercise anchored on a two-note exclamation that the bassist paced with a tangle of quirky lines. His solo took a melodic turn with long, sweeping statements and sharp accents. Pianist Rob Mullins contrasted the straight-ahead seriousness of Patitucci’s effort with chordal swing and blues done in ringing electric keyboard tones.

The bassist had more than just technical flash going for him, as witnessed by his smooth, reserved approach on “Peace and Quiet Time,” a tune from his first solo record. While the rhythm section worked a slow, floating tempo, Patitucci went high up the neck of his instrument to add polished statements spaced with dramatic breaks. Mullins suspended ethereal chords reminiscent of Lonnie Liston Smith over a percussive mix of congas, rings and rattles played by Vic Peterson.

The evening’s best performance came on New York-based keyboardist-composer Don Grolnick’s “Nothing Personal,” an invigoratingly modern number with an insistent, three-note bass line that dissolves into a quick-footed walk. Patitucci, in unison with Mullins, raced across the twisting theme before attacking a driving, straight-ahead solo. Hughes sat out during the keyboard improvisation, letting his fellow bassist challenge Mullins with precise, fast-paced backing. After a furious exchange between Patitucci and hard-hitting drummer Gary Novak, whose strong, tightly wound style was a highlight throughout the set, the piece drew to a resounding close on Patitucci’s tough double stops.

The number of musicians in the audience--including saxophonist Wilton Felder, fluegelhornist Tony Guerrero, drummer Evan Stone and keyboardists Les Czimber and Mark Davidson--attests to the respect Patitucci has garnered among his peers. The bassist recently announced he’ll be leaving Corea’s electric outfit to pursue his own projects (he’ll continue to play upright with the pianist’s Akoustic Band). Great things appear to be in store.