Lounge Offers Most (Sam, That Is) and Best New Venue for Jazz

“Doesn’t anybody know about this gig yet?” one patron was overheard asking Saturday night in the lounge at the Kikuya restaurant. Apparently not, because only a handful of listeners were on hand to hear a solid little quartet led by guitarist Doug MacDonald and featuring veteran flute/saxman Sam Most.

But if future acts are as rewarding as this one--and upcoming appearances look promising--Orange County may have something it dearly needs: a place to hear competent, straight-ahead jazz.

The room itself is well-suited, separate from the restaurant and to the side of the bar (one end of which affords a perfect spot to see and hear the music). The bandstand is in a mirror-lined corner, a touch that gives the place the feel of a Times Square cocktail lounge circa 1965. The audience sits at tables scattered around a small dance floor, or on a black vinyl settee that wraps around two sides of the room with accompanying tables and stools. The acoustics throughout are direct and clean; an intimate experience is guaranteed.

Saturday night, intimacy was just what the doctor ordered. Most, 63, often is credited with being the first be-bop flutist. He began working in Tommy Dorsey’s band in 1948, released his first album in 1953, was voted Downbeat’s “New Star” in ’54 and worked in a wide variety of contexts during the ‘50s and ‘60s including stints with such disparate artists as Chris Connor, Teddy Wilson, Buddy Rich and Louie Bellson.

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There was, not surprisingly, a bit of nostalgia at play during the first two sets as he explored such warhorses as “Flamingo” and “Lady Be Good.” But his performance was more than just a rehash: He spun pleasantly melodic improvisations in breathy tones that were perfect for the lush life setting.

With tenor and alto saxophone and concert and alto flutes resting in stands to his right, Most sang his way through “Night and Day” and “I Thought About You” in a reserved, almost conversational style that brought Chet Baker to mind. Most scatted through long passages with quick, light-footed phrasing that was impressive for its ongoing string of ideas.

On tenor, his tones shimmered beneath a push of air, recalling the sultry stylings of Stan Getz. At times, the soft tones were almost flutelike in quality, especially when sounded in the upper register. On alto, Most was equally breathy, even when playing up-tempo passages as he did during “Lady Be Good.”

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But it was his flute playing that was most impressive. “Falling In Love” was given a light but vigorous treatment. Using the larger alto flute for “The Shadow Of Your Smile,” he wound through lyrical lines against a bossa nova pace, finishing his statements with brief trills or rolling passages. His vibrato resonated with warmth and suggestion.

Most seemed comfortable with the backing he got from MacDonald, bassist Jack Prather and drummer Nick Martinis, breaking into one of his impish grins whenever they executed a particularly demanding or lovely passage.

MacDonald, a consistently satisfying electric guitarist, used smooth tones and sharp chordal strums to trace the outlines of the tunes, sometimes turning his amp down completely to provide strummed rhythmic pulses in the tradition of Charlie Christian. His solos were mix-and-match affairs--short, single-note bursts and long, involved lines sharing space with melodic chordal constructions.

Prather’s fine sense of pitch and strong woody tone were especially winning in this intimate atmosphere. His bowed solo spots, most notably during “I Thought About You,” lent dignified, almost classical airs. Martinis was responsive with both sticks and brushes, accenting statements from Most and MacDonald while keeping time in impeccable style.

* The Doug MacDonald Trio plays at Kikuya, 8052 Adams Ave., Huntington Beach, Friday with singer Stephanie Haynes and Saturday with saxophonist Gordon Brisker. Three sets a night, starting at 8. No cover. (714) 536-6665.