Good Looks, Good Grooves at the Greek

The competition for fans of smooth jazz/contemporary jazz was intense Sunday night with Spyro Gyra and the Rippingtons at the Greek Theatre and Lee Ritenour, Grover Washington Jr. and Joe Sample at the Hollywood Bowl.

The net result at the Greek was a considerably less than capacity crowd. Despite its relatively modest numbers, the crowd was enthusiastic, clearly familiar with the repertoire of both bands (as well as the music of the “surprise guest,” trumpeter Rick Braun).

The Rippingtons, now well beyond their original floating-personnel format, have become a strong visual and aural act. Their presentation featured percussionist Steve Reid and drummer David Anderson on high platforms flanking guitarist and leader Russ Freeman, saxophonist Jeff Kashiwa and bassist Kim Stone. Toward the rear, keyboardist David Kochanski sat on a similar raised platform in front of a huge backdrop illustrating the cover art from the band’s current album, “Black Diamond.”

It was an attractive way to present the band, with Reid’s kaleidoscopic array of percussion--shakers, cymbals, drums, rattles, chimes and indescribable sound-makers--providing a particularly compelling visual display.

The music was a bit more problematic. One of the most versatile of the top-level contemporary jazz acts, the Rippingtons can be both very good and relatively mundane. Pieces such as the flamenco number “Angelfire” had a bright quality. But works that placed Kashiwa’s saxophones front and center were considerably less appealing. The Rippingtons were a far more intriguing band when Kashiwa concentrated on flute and electronic wind instrument, and Freeman--who still seems reluctant to take a leadership role--moved to the forefront.

Spyro Gyra, always a groove-oriented band, did what they do best--lay down a funk-based rhythm to underpin the driving solos of leader Jay Beckenstein and guitarist Julio Fernandez. Still capable of cranking out compelling dance grooves, the group nonetheless misses the textural variations and more implicit jazz qualities present when vibist Dave Samuels was in the ensemble.

Braun, who opened the show, spent most of his set playing with a harmon mute that recalled the sound--if not the substance--of Miles Davis. But his easygoing phrasing and buoyant presentation were more reminiscent of Herb Alpert’s smooth jazz renderings.