JAZZ REVIEW : Opposites Attract at the Celebrity

Both the Yellowjackets and saxophonist Grover Washington Jr. are among the most durable acts in the school of jazz variously described as fusion, contemporary or crossover.

But while the similarities between the two--solid, accessible beats and lots of electric keyboard color--made for a smart pairing Friday at the Celebrity Theatre, it was their differences that made the evening so rewarding.

While the Jackets’ set emphasized thematic material and ensemble play, Washington, whose R&B-meets-jazz; style has kept his popularity going for more than 20 years, naturally looked to his solo skills to get his music across. The Jackets were cerebral and involving. Washington’s approach was more physical, with the tunes providing a framework in which the saxophonist’s improvisations developed. Both were valid and involving. And both, this night, were performed in top-notch manner.

The Jackets opening set covered a variety of rhythmic formats decorated with tonal blends developed between keyboardist Russell Ferrante and saxophonist Bob Mintzer, who played soprano, tenor and a clarinet-like wind-controlled synthesizer.

Though the beats were accessible, there were no easy themes and no endless vamps to provide a handle on the music. Instead, the group relied on the attractiveness of its sound and an ever-changing melodic flow to keep its listeners engaged.

Improvisational space was usually brief, with Mintzer taking the bulk of the action. A demanding soloist, Mintzer used a confident, talkin-to-ya style peppered with rhythmic punch lines. He was equally authoritative working above funk-beats and the more traditional jazz walks.

The group opened with “Man Facing North,” a tune from its most recent album, that found Mintzer playing a soprano introduction before moving to tenor for a line stated in unison with bassist Jimmy Johnson (regular bassist and founding member Jimmy Haslip was unable to attend due to a conflict, according to Yellowjackets management, but continues as a member of the band).

Mintzer kept cool during his solo, allowing the rhythm section to build some dynamics behind him, then ended his excursion with nagging lines and reserved cries before switching over to the wind controller for tonal effects.

Mintzer stuck with the wind-controller on the Miles Davis tribute “Dewey,” for which he created, appropriately, muted-trumpet-like sounds.

“Out of Town” gave drummer William Kennedy a chance to show his strength and agility with hard-hit snare and tom-tom exchanges that he paced with an insistent double-time.

The Jackets short set--just more than 40 minutes--didn’t stop them from developing the handful of numbers into fully realized statements. But a longer set from the quartet would have given them time to delve into a wider range of their material. Maybe they’ll come through as headliners next time around.

Washington, on the other hand, had plenty of time to embrace the entire span of his career, and he included tunes from such early albums as “Inner City Blues,” right through to last year’s “Next Exit.” His backup ensemble, with dual keyboards, guitar, drums and percussion, provided firm, funky foundations for his expansive saxophone work.

Though he likes to generate plenty of excitement, Washington didn’t fall into the trap of developing each solo into a wild, yet predictable climax, as do many of his contemporaries, such as David Sanborn. In fact, Washington on occasion was content to state his case in more mild and thoughtful tones, as he did on “Black Frost.”

But that doesn’t mean he completely avoided strong dynamic treatments. His alto on “Let It Flow” boiled over immediately and stayed roiling throughout the tune’s length. During a medley of his more familiar hits, Washington would peak quickly before the band moved on, often without segue, into the next selection.

Despite his long, successful career, Washington isn’t resting on his laurels and seems to be playing more strongly than ever.

He was especially moving during his refashioning of alto saxophonist Paul Desmond’s classic “Take Five,” a variation that he dubbed “Take Another Five.” His alto moved through the slightly sinister background with ease and grace, paying homage to Desmond while adding plenty of modern twists to the familiar riff.

There were times, however, when the back-beats became tedious, carrying on too long or jumping from tune to tune.

Washington, as he declared from the stage, has tried to keep doing new and different material over the years, and it was apparent here, with pop tunes such as “Just the Two of Us” balanced against the Brazilian-flavored “Little Black Samba” and the reggae-paced romp “Jammin’.”

If this kind of variety continues in his work, fans can expect to see Grover Washington Jr. around for another 20 years, easy.