JAZZ REVIEWS : Pantoja Fuses Old and New Worlds

SAN JUAN CAPISTRANO — Rique Pantoja has ridden the current wave of pop-jazz artists from his Brazilian homeland into new waters. Unlike Djvan and Ivan Lins, whose pop stylings are firmly anchored in the traditions of their South American country, Pantoja has embraced American jazz-pop fusion, while retaining more subtle flavors of Brazilian music in his electric hybrid.

The keyboardist, vocalist and composer’s appearance Saturday in the courtyard at the San Juan Capistrano Regional Library was a showcase for this coming together of fashions. Pantoja’s writing abilities came to the forefront in the first set, which ranged from beat-minded, up-tempo numbers through ballads that featured his straightforward vocals. Though the presentations were far from seamless--some of the quintet members had rehearsed their leader’s originals only once--Pantoja’s compositions were full of interesting turns, nicely phrased hooks and opportunities for musicians to strut their stuff.

The group’s opener, “One Thousand Watts,” the title tune from his most recent Japan-only release, served as an apt introduction to his melodic style. Working two keyboards--one producing pleasant, whistling tones, the other sounding like traditional grand piano--Pantoja built a lush background for the mid-tempo excursion while saxophonist Rob Lockhart stated the upbeat theme on tenor. The presentation was bothered by a bad mix, with electric bassist Sekou Bunch’s tones badly smeared and percussionist Cassio Duarte barely discernible.

But as the evening progressed and the sound problems were dealt with, the attraction of Pantoja’s material, and of his band mates, became apparent. Bunch added golden, upper-register embellishments to his foundation on “Julinho,” as the keyboardist added synthesized strings to the mix. Ephraim Toro brought sparkling cymbal work to the tune’s changes, and when the band kicked into double-time during Pantoja’s improvisation, the drummer drove the tune with hardy snare and tom-tom exchanges. The keyboardist contrasted shimmering electric sounds from his right hand with piano-toned chords from his left. Some of his phrasing during the double-time passage recalled Herbie Hancock’s more ambitious electric work.

The band pulled together for a sprightly salsa titled “Saci,” the name given to a one-legged elf said to live in the Brazilian forests. The tune was given extra depth by the addition of second percussionist Meia Noite, who was coaxed from the audience to add rippling conga and bongo passages. His exchange with Duarte’s cowbells and timbales brought a sustained ovation from the crowd.

Done as a duo with Lockhart, who played soprano, “Lua Nova” highlighted Pantoja’s convincing vocal style. Though the quality of his voice was nothing special, its passion carried the tune, especially when Pantoja matched his falsetto in unison with the saxophone.

Bunch was the evening’s most exciting soloist, working sharp guitar tones and strong riffs through an upfront, lyrical style. Lockhart’s best effort came on flute during “Pe De Moleque,” backed by strong clusters of percussion from Duarte.

Given a chance to tighten up its act, this band could create waves of its own based on the strength of Pantoja’s fine blend of styles.