Payton Comes Out Swingin’

Like a prizefighter with something to prove, Nicholas Payton came out all fired up and ready to hit Saturday at the Orange County Performing Art Center’s Founders Hall.

The 24-year-old, New Orleans-reared trumpeter opened his first set on the second night of a two-day run with fast, technically impressive play that left no doubt he’s a contender for heavyweight trumpet champ.

But it was his work after the two blistering opening numbers--one a frantic post-bop original, the other an up, up up-tempo version of “With a Song in My Heart”--that gave Payton the decision. Having displayed his chops, the trumpeter put them to good use, performing blues, funk, a ballad and New Orleans-inspired numbers with meaningful expression as well as dexterity.

Payton’s supporting players--pianist Anthony Wonsey, saxophonist Tim Warfield, bassist Reuben Rogers and drummer Adonis Rose--also proved themselves, matching their leader’s skill and fire as individuals while emphasizing alert teamwork. Payton is not only a fine trumpeter, he also knows how to put together a sympathetic band.

Though Payton’s opening improvisations, with their long, hard swinging lines and agile turns, made strong technical impressions, they lacked the construction and thoughtfulness of the later tunes. Payton came into the first numbers highly charged and stayed charged for the duration. Warfield and Wonsey showed a better sense of dynamic development here, building from lean and quiet to resounding climax.

After the furious pace of “With a Song in My Heart,” the trumpeter showed off his Louis Armstrong side (to whom he is frequently compared) with the Armstrong-Jelly Roll Morton anthem “Wild Man Blues.” In fine Armstrong style, Payton cooed, growled and blew long sliding tones while displaying a strong sense of the blues. He followed up with an original jazz-funk number, “Zig-a-Boogaloo,” in which he took a punctual, Lee Morgan-inspired stance.

Payton’s most revealing play came on “My One and Only Love” as he warmly interpreted the standard with a minimum of embellishment. Warfield again demonstrated a smart sense of narrative, beginning with hushed, deliberate lines and ending with heartfelt declarations.

Pianist Wonsey, whose own recording trio includes bassist Christian McBride and drummer Carl Allen, was equally versatile, burning like McCoy Tyner on the up-tempo numbers, showing a little Bill Evans on the ballad, some barrelhouse piano on the Armstrong and some Herbie Hancock-inspired chords during the funk piece.

Rose and Rogers also displayed chameleon abilities, playing in gutbucket style on the Armstrong and providing propulsion on the upbeat tunes.

It’s gratifying that a performer as young and skilled as Payton doesn’t let his enthusiasm and technical ability overshadow expression. He’s well on his way to being the most important trumpeter of his generation.