JAZZ REVIEW : A Quiet Evening With Art of Sax

Art of Sax is a soft-core jazz band, the kind that infuses cozy beats and vocals with come-hither sax solos to establish a mood as soft as candlelight. Call it PG-13 jazz.

Though there were times during the quintet’s first show that something a little more racy seemed called for, AOS was perfect for the hand-holding, knee-fondling couples who cluttered Randell’s Saturday night. But for those looking for stronger musical stimulation, the band came across as impotent.

Miles Davis’ comment about the music used in movies to back sex scenes seems appropriate: “I don’t want to hear violins. I want to hear drums!”

To that, we can add “minor keys” (not every tune needs to carry a happy face) and “aggression” (we’re not talking sex, now). It’s OK to be laid-back here and there, but the real pace of life calls for music that moves as well as grooves. AOS certainly had the groove, but its musical drive seemed, well, repressed.

Maybe Commercial Art of Sax would be a better moniker.

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The group certainly has its attractive qualities. Saxophonist Will Donato plays with a fine ear for melodism on both alto and tenor, and he knows how to work with a rhythmic hook. Keyboardist Carlos Murguia was adept at sharp, rhythmic accompaniment, especially when pulled from Randell’s resident Hammond organ. Bruce Conte’s creamy guitar tones, often reminiscent of Carlos Santana’s, blended nicely into the gooey mix, and drummer Steve Monreal has a nice way of gliding with the rhythm while adding substance with tom-tom and cymbal fills.

But it’s bassist Ed Reddick who brings a bit of punch to AOS’ music. Reddick is the rhythmic anchor of the band, and his sharply cut foundations went a long way toward supporting the “lite” material. He also is a fine vocalist, with a sweet falsetto he used to embellish otherwise predictable themes.

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The band opened with the easy-listening pace of “Every Generation,” then upped the tempo with “Soul Searchin’ ” the title tune from its current CD. The number included some decent vocal harmony from Reddick, Murguia and Monreal (who, like Madonna, uses a voice microphone strapped to his head, rather than one suspended over his drum kit). But the overly pleasant song was as unsatisfying as a vegetable burger, largely because any trace of soul was missing.

The group covered a Kenny G tune with some success, and Reddick’s vocal on “I’ll Be Around” (the Spinners’ hit from 1972) made for one of the evening’s better moments. Donato stirred up some excitement during “Europa” when he dropped into the audience to slow dance with one of the patrons while continuing to play his alto. But the majority of the group’s presentation was colorless, as one tune faded predictably into the next.

Art of Sax should toughen up its sound a bit, maybe by spending some time with George Clinton, or by thinking of nails rather than marshmallows during performances. The first set sounded as if no one in the band ever had a broken heart or a heated affair.

C’mon, guys. Next time let’s get physical.