POP MUSIC REVIEW : Lacking in the Funkamentals

Dutch saxophonist Candy Dulfer calls her band Funky Stuff, but funk isn’t its strong suit. Instead, the best moments of Dulfer’s two-hour-plus performance Thursday at the Coach House came during more pop-oriented numbers and ballads, when her 10-piece ensemble depended less on tough beats and more on musical presentation.

Still, funk is the band’s mainstay, even though its funk material was hindered by a lack of strong, rhythmic direction. At fault were bassist Dimitri Veltkamp, drummer Edwin Delano Rath and percussionist Martino Latupeirissa’s and their overly ambitious timekeeping.

If the band has a good foot, it never quite got on it.

Tunes such as the Average White Band’s “Picking Up the Pieces” and Dulfer’s “Jamming” were spirited enough but lacked the kick a more direct attack might have given. At times, the band was tight and on the money. Other times, Dulfer and her two supporting horns were hard-pressed to find common ground with the rhythm section.

Dulfer’s own playing was competent, if not overly exciting. Her alto solos, played with a hint of David Sanborn’s tonal quality but little of his spark, followed a predictable path to a climax of sustained, high-register notes, before bottoming out.

It’s apparent she’s been listening to the likes of Sanborn and Maceo Parker (with whom she’s recorded) but doesn’t yet have their technical skills. Still, she has a good sense of development and drama.

For someone who owns up to trading on her good looks, Dulfer often made an unattractive impression from the stage, squinting painfully while playing and dancing awkwardly. This lack of presence was especially apparent when the group was joined by singers Tryntje Oosterhuis and Chris Ballin (the only non-Dutch member of the band), as Dulfer faded into the background while the vocalists took center stage.

Her best moments came on the ballad “I Can’t Make You Love Me,” when she softened her tone and played more thoughtfully. That she has a strong melodic sense was apparent as she played backed only by the rhythm section. Surprisingly, she didn’t lose sight of her narration as the tune progressed and she was joined by tenor sax, fluegelhorn and vocalists.

The band’s strongest suit are its arrangements, most written by guitarist Ulco Bed. Filled with surprising twists, turns and brass accents, Bed brings a sense of playfulness to the otherwise straightforward numbers.

“Picking Up the Pieces” slowed to a sultry crawl after Dulfer’s solo, a touch that brought new interest to the familiar riff. Miles Davis’ “So What” moved to a shuffle beat and featured nicely timed punctuation from saxophonist Peter Broekhuizen and trumpeter David Rockenfeller.

Bed’s own “Mr. Marvin” hinted at various Marvin Gaye themes while providing nicely framed space for improvisation. The guitarist also was the evening’s most engaging soloist, coaxing an array of sounds from his instrument.

But if Dulfer wants to continue playing on “sax/sex” themes (the show’s closing number was the title tune from her latest album, “Sax-A-Go-Go”), the band needs to work on the bread-and-butter beats that drive funk straight to the libido.

Without them, Dulfer’s music will remain no more than a tease.