Jazz Review : McBride’s Quartet Returns Tighter, More Finely Tuned

Not counting his past-midnight appearance with saxophonist Joshua Redman here last Jan. 1, bassist Christian McBride will have played three engagements in 1995 at Catalina Bar & Grill. Is he risking over-exposure?

Hardly. His opening set Tuesday at the Hollywood nightspot, though covering much of the same material heard in March at Catalina and in an August concert in Newport Beach, was a technically impressive, emotionally charged program that highlighted the 23-year-old bassist’s emerging skills as a bandleader and crafter of music from the bop and post-bop traditions.

The emphasis on tight ensemble play and the evolving style of give-and-take between the members of this not-quite year-old ensemble raised this performance a notch above McBride’s earlier appearances. While the jazz world’s ongoing infatuation with the younger generation of musicians is focused on individuals, McBride seems to be turning in another direction. Though possessing virtuosic skills on his instrument of choice, he’s the consummate team player, relishing in his group’s sound while stimulating the play of his bandmates with ambitious enthusiasm and attractive arrangements.

Though McBride’s quartet was the same one heard here last March, it was apparent that the group had tuned and tightened its play since then. Expertly executed breaks and turns decorated a riff-based “Cherokee.” Pianist Anthony Wonsey’s accompaniment of both McBride and tenor saxophonist Tim Warfield, especially on McBride’s “Black Moon,” cast well-defined shadows against their play. The bassist himself, while keeping stout, stalwart time, provocatively echoed phrases from the piano and the horn as they improvised.

McBride was most locked-in to the play of drummer Carl Allen, who kept a constant chatter of snare and cymbals layered against the soloists. Allen’s brush work exchanges with McBride’s bowed lines on “I Should Care” came in quiet, sensitive strokes that contrasted with his usual aggressive play.

The bassist soloed with the expected aplomb, sticking to the lower range of his instrument for impact, using the bass’ deep woody, resonance to tell his stories. He worked with warmth and lyricism on his bowed lead to “Old Folks,” with pluck and cocky assurance on his beat-driven anthem, “McThing.”

With their strong rhythmic base and individual virtuosity, the members of McBride’s quartet are attracting a strong cross-over following (witnessed in the capacity audience at Catalina) of both mainstream jazz buffs and pop music fans tired of the same, old thing. Isn’t that just what the art form needs?

* The Christian McBride Quartet plays Catalina Bar & Grill, 1640 N. Cahuenga Blvd., Hollywood; Friday-Saturday, 8:30 and 10:30 p.m. $16; and Sunday, 9:30 and 11:30 p.m. Both shows with dinner, $95, late show only, $55. Information: (213) 466-2210.