Fattburger’s New Release Waits for Party

“On a Roll,” Fattburger’s debut recording under its new deal with Sin-Drome Records, is the group’s most ambitious effort to date, deftly produced and covering a range of moods.

The group had hoped to host a release party last week, when the album came out, at the Catamaran’s Cannibal Bar in Mission Beach, but it wasn’t to be. The party was even advertised in a local paper, but the hotel, which is Fattburger’s favorite local venue, and KIFM, the most important local radio station for light-jazz bands, couldn’t come to an agreement to co-host in time.

Fattburger finds itself caught between its obligation to the club, where it has played regularly for many months, and KIFM, which both the band and Sin-Drome are counting on for airplay and promotional support. The station had promised a few months ago to host a release party.

KIFM has continuing relationships with several San Diego clubs that host weekly jazz nights, but not the Catamaran. Clubs that advertise with KIFM receive the station’s promotional support. The Catamaran used to, but severed ties about three years ago, when it switched its advertising dollars to KSWV-FM (“The Wave”) at the same time that “Lites Out Jazz” guru Art Good moved from KIFM to KSWV. KSWV folded in 1989, and Good went back to KIFM, but the Catamaran never followed.

Bryan Dickey, director of food and beverage for Evans Hotels, which owns the Catamaran, said:

“We have had conversations with the band, but it hasn’t gone much further. We will talk to Fattburger within the next week.”

Bruce Walton, general manager at KIFM, said Sin-Drome has approached the station about a release party, but there is nothing definite yet.

Meanwhile, the band is booked to appear at the Catamaran on Wednesday and Nov. 11, and is eager to gear up promotion for “On a Roll,” an upbeat and versatile collection of music that is already receiving airplay on stations, including KIFM.

“On a Roll” is the group’s most polished effort yet, a seamlessly produced package of catchy, accessible tunes driven by funked-up rhythms, sweetened by Carl Evans’ synthesizer textures.

This radio-ready collection is tightly scripted and predictable, but it includes a few spontaneous sections, such as Mitch Manker’s sax-like solo on an electronic valve instrument on “The L” and Evans’ dead-on impersonation of marimba on “South Coast Samba.” Special guest Kiko Cibrian turns in a hot but too-short guitar solo on “Tronco’s Party Time,” the closing cut.

Like most light jazz, “On a Roll” doesn’t roll out much in the way of adventure for serious jazz fans, but it is perfect as relaxing party music and would make an ideal soundtrack for a light romantic comedy movie with an occasional chase scene.

Nearly a year after his last chemotherapy, San Diego guitarist Steve Laury remains in remission from melanoma cancer. During his recovery, Laury has watched his second solo release, “Passion,” tally impressive sales, even though he was unable to tour.

Released last February, “Passion” has sold about 60,000 copies in the United States alone, according to Laury, and also is selling well in Japan, thanks to heavy promotion from Denon, his Japanese label.

Laury’s follow-up, “Keepin’ the Faith,” is due in February, and the guitarist said he plans to hit the road early next year in support.

You will hear more from Laury’s guitar on “Faith” than on “Passion.” Nine cuts stretch to 48 minutes, giving him more room for improvising, and drummer Duncan Moore even takes a solo on one track.

Laury’s success is proof that San Diego has first-class players, even if they can’t always fill clubs in their hometown.

Instead of turning to name-brand studio hotshots for assistance on his recordings as his career has ascended, Laury has stuck with top San Diego guns. The players on “Faith” are much the same as on “Passion”--Moore, plus Ron Satterfield (who co-wrote much of the music) on keyboards, John Rekevics on saxes and Kevin Hennessey on bass.

“I have been playing guitar for 25 years, and there is a caliber of musicians down here that are as good or better than L.A.,” Laury said. “I don’t think people in San Diego realize that. You don’t have to go to New York or Los Angeles to get the cream of the crop.”

The same holds true for studios as for musicians, said Laury, who recorded “Faith” at Signature Sound in San Diego.

As he gears up for the new release, Laury also is getting set to begin promotional work for Gibson, the guitar company.

In January, Gibson will unveil a line of high-end guitars in Los Angeles, and Laury will help by contributing a performance. Laury signed a promotional deal with Gibson last year but was unable to play on the company’s behalf because of his illness.

But he did use several Gibsons on “Passion,” mostly fat hollow-bodied jazz guitars such as the Super 400 and L5 CES. And he plays a slimmer Gibson ES 335 in concert to get the volume he needs without feedback.

With renewed energy, Laury is looking to diversify musically. He has swapped CDs with drummer Alphonse Mouzon, and the two have casually discussed working together.

RIFFS: Several San Diego County musicians are in Puerto Vallarta this week for the Vallarta MusicFest Jazz ’92. They include saxman Anthony Ortega, Latin bands Sol E Mar and eSOeS, and guitarist Jaime Valle. The festival opened Oct. 29 and closes Thursday. . . . Saxophonist Gerry Mulligan will be interviewed on KSDS-FM (88.3) at 12:30 Friday afternoon. . . .

Saturday’s 1 p.m. “Portraits in Jazz” program on KSDS will feature the music of Howard Rumsey’s Lighthouse All-Stars. . . .

Sankofa, the African percussion ensemble fronted by Cal State San Marcos professor Komla Amoaku, plays a concert at Smith Recital Hall at San Diego State University Saturday night from 7 to 9. The group also will appear Nov. 18 from 11 a.m. to 1 p.m. in the Student Union at Palomar College in San Marcos.

CRITIC’S CHOICE

A Likely Combination

It has only been a few weeks since Tom Scott and Larry Carlton were in San Diego to play the Street Scene downtown, but new things have been happening for both, who share a bill for shows at 7 and 10:30 Sunday night at the Rhythm Cafe (formerly Sound FX) in San Diego.

A couple of weeks before his appearance on the “Tonight Show” last Thursday night, Scott mentioned to Branford Marsalis, the show’s band leader, that he was looking for a bassist. Marsalis recommended Dwayne Smith, recently on the road with Natalie Cole, and Smith makes his live debut with Scott on Sunday.

Scott also has a new drummer from San Diego. Johnny Friday was a regular in casino bands in Las Vegas and Laughlin, Nev., before Scott hired him last June.

“When I got this, I felt like I had an angel on my shoulder,” Friday said by phone from Laughlin. “It is a burnin’ gig, it is wonderful. He plays great, and his tunes are great.”

Friday said there is a possibility he will record with Scott.

Carlton, meanwhile, in September released his first new recording since the 1989 “On Solid Ground.” Titled “Kid Gloves,” the new recording has shot him back to the top of the pop-jazz heap.

Last Friday, it was poised at No. 3 with a bullet on Billboard’s Contemporary Jazz Chart, and No. 1 on Radio and Records New Adult Contemporary chart, his highest ranking in several years. Before “Kid Gloves,” Carlton took a detour to record a blues-based album that still hasn’t found a label. He showcased some of this music at the Del Mar Fair last summer, but Sunday will concentrate on his signature light jazz.