Trio, Plus 1 to Grow on, for Steamers at 3

FULLERTON — Pianist Alan Broadbent’s trio, with guest saxophonist Gary Foster, gave a performance Wednesday night that recalled the West Coast jazz movement, something most fitting to the occasion: Steamers Cafe’s third-anniversary celebration.

Jazz clubs such as Steamers are increasingly rare. Blessed with a decent piano, outstanding sound system and audiences that (mostly) respect what’s going down on the bandstand, it is among a dwindling handful of Southern California venues where performances take center stage, rather than serve as background music for dining and conversation.

Musicians who have played there, tellingly, made up a large chunk of the recent fete’s overflow crowd. They ranged from such well-known types as Poncho Sanchez (and many members of his band) to emerging musicians including saxophonist David Sills and guitarist Steve Cotter.

As the musicians of the moment, Broadbent and company brought enthusiasm and musical competence worthy of the event. The leader and his guest were extremely well-matched, with the New Zealand-born pianist’s deep, often technically astounding readings of tunes from Tadd Dameron and others finding brotherhood with Foster’s fluid, smooth-toned play.

With drummer Larance Marable (who, along with Broadbent, makes up half of bassist Charlie Haden’s distinguished Quartet West) and longtime Broadbent collaborator bassist Putter Smith, the combo recast familiar songs with respectful yet inventive play.

Foster, well-regarded studio saxophonist and onetime Lennie Tristano disciple, blew pillowy tones with propulsive style on Dameron’s “Hot House,” then took a harder edge on Horace Silver’s “Nica’s Dream.” His cool-school influences surfaced in warm, feather-lined phrases and his smart, well-placed use of the silent pause. His play had its own consciousness, with note following note, line following line in flowing spontaneity.

Broadbent’s lush solo introduction to “I’ve Never Been in Love Before” led to his more simplified improvisation, as spare accompaniment from the pianist’s left hand supported beautifully melodic lines from the right.

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Marable and Smith proved expert at following the music no matter where it went. Marable’s ease and confidence were especially winning as he powered the proceedings with grace and subtlety. Smith’s bass solos, often backed by Marable’s sizzling brushes, came with a lyricism that fit with Broadbent’s feel for romance.

The mid-tempo pace and moody appeal of “How Deep Is the Ocean?” found the band at its best, engaged in group support and personal statements while playing with an air of cool resolve. Call it a ‘90s version of West Coast jazz--and a fine match for the birthday of Orange County’s most visible jazz club. Here’s to many more years as good as the first three.