JAZZ REVIEW : Charles Owens Proves He’s in Tune With a Variety of Sounds and Styles

Europe’s loss was our gain when promoters over there canceled an appearance by the Duke Ellington Orchestra. (Europe’s shrinking summer concert scene has left many American musicians idling at home this season.)

Among the band members who wouldn’t be going abroad was Charles Owens. Instead, the well-traveled saxophonist took his newfound free time to book himself into System M on Saturday as part of a trio.

The show was a comprehensive overview of Owens’ talents and dues-paying history. Unlike his April appearance, in which he celebrated the Duke’s birthday with an all-Ellington program, the saxophonist used the revered bandleader as a touchstone, only striking up “In a Sentimental Mood” in the first set and “C-Jam Blues” in the second.

But the treatment of these Ellington chestnuts was anything but traditional. In fact, the entire program reflected Owens’ experience working both sides of the fence. He has not only played traditional music with the Ellington orchestra (directed by Mercer Ellington) and Jimmie and Jeanie Cheatham’s Sweet Baby Blues Band, he has explored new sounds with the likes of pianist Horace Tapscott and flutist James Newton, as well as spending time with bluesman John Mayall and genre-buster Frank Zappa.

One of the reasons for Owens’ stimulating mix of traditional and out-jazz styles this night was due to the makeup of his backing duo. Tapscott veteran Roberto Miranda played bass, replacing usual Owen’s sideman Louis Large, and drummer Don Littleton sat in for percussionist Donald Dean.

Both men favor the avant-garde side of their craft, witnessed by their appearance earlier in the week in Santa Monica at the Alligator Lounge’s New Music Monday series with an on-the-edge combo led by pianist Wayne Peet that included forward-thinking guitarist Nels Cline.

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So it was no surprise that “In a Sentimental Mood” developed into a consideration of more complex emotions as Owens bared his soul with swirling tenor figures and high-register cries. Miranda struck an Eastern approach during his solo, droning on a single tone while playing a string of second notes above it. The saxophonist re-entered the fray, this time with both sidemen sitting out, exploring a realm far distant from Ellington’s original piece before slipping back into its familiar theme.

Ellington wasn’t the only composer whose compositions were stretched to the limit. Mongo Santamaria’s “Afro Blue” (Owens spent time in the Afro-Cuban percussionist’s ensemble in the early ‘70s) was presented in a slow, Middle Eastern-flavored tempo before Miranda and Littleton moved to congas to give the piece a rippling, African feel.

On Miles Davis’ “All Blues,” Owens delivered a loose interpretation of the tune before negotiating a demanding solo. “Body and Soul” built dynamically into a free-form close with Miranda picking the strings of his upright at a furious pace.

Miranda is among the most animated acoustic bassist in Southern California,moving quickly through melodic double stops, climbing to his instrument’s upper range like a kid scrambling in a tree, then initiating a series of Spanish-flavored chordal strums that sound as if they came from a guitar. Left to his own devices, the bassist soloed without end, stringing together one creative idea after another in a never-ending cascade of ideas, before Owens would whistle his improv to a close.

Littleton is equally dynamic, utilizing the sides of his drums and the cymbal supports to embellish his sound. At one point during “All Blues,” he created a varied improvisation utilizing only his tom-tom while Miranda paced him on congas and Owens kept time with a cowbell.

Also on view was Owens the composer in a Latin-tinged piece titled “E.T.,” a number that found him creating light dance figures on flute.

That Owens, who plays the stylish Pine Avenue venue on an infrequent basis, is one of the most utilitarian wind players on the scene was more than apparent at this performance. Despite the depth of his talent, he’s also one of the area’s most underappreciated musicians. Catching his show should be on any jazz fan’s must-see list.