JAZZ REVIEW : Rutherford Rambles : Even Slimmed Down, His Band Lights Things Up at Mucho Gusto

It was to be a slimmed-down version of Charles (Doc) Rutherford’s Jazz Pacific Orchestra that graced the bandstand at Mucho Gusto on Sunday. Usually a 19-piece ensemble, as it is on the new Seabreeze CD “Reunion,” the orchestra was pared to 11 to match the cozy confines of the Latin-themed restaurant and nightspot.

But with the vocalist out with the flu and a couple of members of the brass section still no-shows as the second set began, the band was even more compact than planned. No matter. The five-piece brass section and three-man rhythm crew mustered more than enough sound to fill the room, and the band’s trim size provided a chance to concentrate on its individuals. It brought to mind a variation of the often-heard maxim that’s especially appropriate this time of year: good things can come in smaller packages.

Rutherford, whose various groups over the years have contained any number of musicians who have gone on to bigger things, included a number of promising faces in this eight-piece band as well as a few to whom big things have already come. The established side of the ledger included trumpeter and Woody Herman veteran Matt Fronke, saxophonist Doug Webb, who recently toured with trumpeter Freddie Hubbard’s band, and keyboardist Alan Rowe, who played saxophone with the Kenton band back in the ‘60s.

It was clear from the first number that Rutherford has put together an improviser’s orchestra. The Orange Coast College instructor and sometimes saxophonist stuck to conducting chores, thus focusing attention on the band members, rather than himself. Though his style is more relaxed than rigid, he snapped the group together with authority when necessary and guided them through themes before moving off to the side to let to a soloist do his thing.

The orchestra employed mostly simple arrangements, the kind of music that allows plenty of space for improvisation with little interference from the arranger’s frills and embellishments. The sax section--tenor man Webb, alto and soprano player Everett Carrol and baritonist Larry Jiegello--made for a sweet blend, and, with the addition of trumpeter Fronke and trombonist Ryan Anglin, the brass could shout with sufficient volume. If there was one thing lacking from the sound, it was a second trumpet, someone to underscore Fronke’s strong, direct sound.

The group opened the first set with one-time Rutherford bassist David Metzger’s “Greazy Rider,” a heated warm-up with a passel of dramatic breaks that kept the musicians on their toes. Webb turned in a soulful solo on the rollicking tune, in contrast to a more bop-styled approach he employed on the others. This chameleon-like utility is one of the saxophonist’s best traits (Webb also plays flute), and as he hunched into his solos, one never knew which of his many personae would sound off.

Fronke graced “Exactly Like You” with strings of smooth lines played in burnished tones before hitting some high-end excitement. Trombonist Anglin took a turn that alternated between blustery phrases played with intensity, and thoughtful, melodic lines. His work throughout the set seemed more mature than his 26 years would suggest. Baritonist Jiegello, in an impressive display of breath, rambled through his improv like a roadster on a rocky road.

Tom Kubis’ “Everybody Loves My Baby” (Kubis plays sax on the new CD) was the most involved arrangement of the set, with its polished brass lines stating the theme and its punchy accents during solos. Webb quoted “Yesterdays” in his solo before Rowe’s twinkling, blues-inflected improvisation on electric piano. Bassist Eric Stiller’s brisk walk kept the tune moving and drummer Peter Pfiefer’s to-the-beat style and crackling rolls over the changes brought needed spark to the outing.

There were times when the ensemble play might have been tighter, or the brass unisons more in sync, but these minor complaints were overshadowed by the enthusiasm and improvisational ability that marked the set. This is the kind of band that deserves more than just one airing.

Between sets, Webb talked about Rutherford’s contribution to Orange County jazz and some of the better-known names (Eric Marienthal, Brandon Fields, Ron Stout) that he’s seen come through the band since he first joined it in 1978. It was the kind of appreciation that only a musician could show for Rutherford’s many contributions to the local scene. The modest Rutherford, standing nearby, could only smile.