Jazz Review : Paul Carman and E.S.P.: A Keen Sense of Togetherness

Paul Carman has a good thing going. The saxophonist has led his quartet, E.S.P., every Tuesday at Randell’s for two years and is scheduled to continue indefinitely.

His appearance Tuesday showed why Carman has stuck around. Coming a week before the release of his first album, “Passion,” on his own Crystal Sound label, the San Luis Obispo-based musician demonstrated a winning formula that combines the best of mainstream and contemporary sounds.

A veteran of Frank Zappa’s late-’80s ensembles that recorded such albums as “Make a Jazz Noise Here” and “Broadway the Hard Way,” Carman makes no commercial compromises.

Mostly playing original music, he and his band--keyboardist Mark Massey, upright bassist Joel Hamilton and drummer Steve DiStanislao--showed the invigorating sense of camaraderie that comes from having polished the music over a long period of time. Their familiarity with the music, and with one another, allows Carman and company to take tunes and improvisations into ambitious, rewarding territory.

His opener, “Dreams of a Burbank Spokesperson,” typified Carman’s approach. The clever, driving theme carried enough changes to keep listeners engaged without straying too far from accessibility.

Working on alto, he maneuvered easily through his improvisation, building dynamically as he progressed while not relying on histrionics. Carman isn’t afraid of the upper register of his instrument. But he doesn’t rely on it, as do so many of today’s saxophonists, to make moving statements.

While “Burbank Spokesperson” put an up-to-date spin on the type of neo-bop characterized by ‘60s edition of Art Blakey’s Jazz Messengers, “Passion,” following basic blues variations, was more in the contemporary ballad mode. Its pleasant, major-key theme showcased Carman’s alto tone, which, unlike most contemporary alto players of the day, owes little to David Sanborn.

The saxophonist has a way of floating on extended tones, inflating their volume and impact before he moves on. As the tune’s theme ended tightly on a loud exclamation, he moved into some Hank Crawford-inspired lines spurred by bassist Hamilton’s country funk.

The saxophonist worked up some dissonant lines as his solo built in intensity, while Massey, an attentive and responsive accompanist, added full-bodied backing. The solo, like the theme, ended on a clipped exclamation before Massey moved into his solo on an emotional series of descending lines.

“I Don’t Want to Be Alone” featured Carman’s considered soprano stylings, played with a tone and attack that recalled Wayne Shorter’s work. “Gimme a Melvin,” a title inspired by the gym-class prank where one’s shorts are tightened with an unsolicited yank, featured a fast-breaking introductory line powered by Hamilton’s fleet bass lines.

The tune proved a showcase for drummer DiStanislao, who mixed it up between snare, toms and cymbals while Carman’s soprano sailed over head.

The band’s willingness to experiment was visible on the set’s only standard: Thelonious Monk’s “I Mean You.” Carman trailed just-so behind the keyboard on the quirky theme, giving Monk’s perky ditty an added twist.

Massey delivered a very unlike-Monk solo, adding stomp, shout and glissando, while Carman followed with busts of notes on alto. The effect was one of the evening’s most exhilarating moments.

Carman’s music may be too involved to win airplay on Wave-format stations, and too modern for the KLON-FM playlist. But he’s on to something good, and those who like both thought and energy as well as solid musicianship in their jazz would do well to check out the saxophonist and his combo.

* Saxophonist Paul Carman plays jazz every Tuesday at Randell’s, 3 Hutton Centre Drive, Santa Ana. 8 p.m. Free. (714) 556-7700.