JAZZ REVIEW : Bennett Plays His Own Tunes to the Maxx

You know those fusion bands led by the bassist, the ones in which the leader hogs the spotlight during performances distinguished by unrelenting low-end punch and plenty of assertive bass solos?

Well, that’s not how it happened at El Matador Friday when electric bassist Max Bennett brought his quintet, the Maxx Band, in from the rain to open a two-night stand. Instead, Bennett emphasized his compositional skills while training the solo spotlight on his fellow band members. That Bennett didn’t grant himself a solo until the set’s last tune was indicative of his magnanimous means of operation.

This isn’t to suggest that the bass was relegated to the background. Standing between guitarist Brian Price and saxophonist Jeff Jorgenson, Bennett worked the instrument as an equal with his front line, while still serving as a fundamental member of the rhythm section. His solid, to-the-beat underpinnings were varied with clean, upper register embellishments or brief split-hair runs. Sometimes, he echoed phrases from the soloists. Other times, he led them to higher ground with dynamic bursts or subtle turns of the rhythm.

The entire set was made up of Bennett originals. The bassist has extended the jazz-rock sound pioneered in the ‘70s by Tom Scott’s L.A. Express (of which Bennett was a founding member) with sincere melodies and a variety of rhythmic treatments. Sure, there were tunes with the expected strong back-beat (“Cool Breeze”). But Bennett mixed it up with propulsive two-beat shuffles (“Midnight Crusin”’) and Latin-flavored excursions (“The Long Road”) as well as ballads and gospel-tinged rockers (“Special Delivery”). The bassist has a good ear for melody and avoids the kind of bland, major-key anthems that poison so much of today’s fusion music. Regardless of their tempo, these tunes flowed.

Guitarist Price worked a clean, clear sound to add color in accompaniment with clipped, Freddie Green-styled chords or long, sizzling tones. His improvisation during “High Roller,” a hard-driving number with dramatic breaks, was a fast-paced, singing detour from the tune’s straight-ahead direction. Saxophonist Jorgenson showed he could work the top-end of his alto, complete with cries, squeals and overtones on an upbeat “Mardi Gras,” as well as play with warmth and intimacy, as he did on tenor during the ballad “I Need You Now.”

Still, there were moments when the program lacked polish. Newcomer keyboardist Rob Whitlock, on the introduction to “Let’s Say Goodby,” seemed to stumble until Bennett guided him out of trouble. But to his credit, Whitlock went on to make a strong contribution to the song, and his selection of synthesizer sounds added textural interest throughout the evening. Drummer Dave Karasony, a late replacement, seemed unfamiliar with the material in a few places, but overcame it with a firm, locked-on style of timekeeping.

And when Bennett finally did solo on his “Jack, the Giant Killer,” he was melodic and to the point, without a bit of showboating.

This is one bassist-bandleader who lets the music do the talking.