George Van Eps’ Lucky 7

What could be more appropriate than a Father’s Day appearance from George Van Eps? After all, the 84-year-old guitarist, veteran of the Benny Goodman orchestra and the Hollywood studio scene, is considered the father of the seven-string guitar.

Musicians from seven-string mainstream master Ron Eschete to youthful grunge-jazz bandleader Charlie Hunter (who plays an eight-string) often cite the well-traveled Van Eps as an important influence.

Van Eps has been making monthly appearances with bassist Luther Hughes at Restaurant Kikuya in Huntington Beach, Van Eps’ home, for nearly a year. Sunday he worked with a quartet that included Hughes, drummer David Tull and saxophonist Lanny Morgan. Even with a guest artist as dynamic as Supersax alto player Morgan, Van Eps remained the center of attention.

And for good reason. Van Eps is a musical treasure, a compendium of American song dating to the ‘20s, when young George was a disciple of guitar pioneer Eddie Lang. Not only does Van Eps bring historical perspective to the music, but also his complex way with the guitar allows him to develop an almost orchestral sound from his instrument.

Listening to Van Eps is much like listening to a pianist. His sound was a dense patchwork of unusual chords pulled together by quick clusters of single tones. Occasionally when playing solo, he used that low seventh string to create his own bass line, in effect accompanying himself.

The gentle yet persistent flow to his play often seemed to pull his fellow musicians along. He occasionally quoted lines from other songs, always in the most appropriate places.

The quartet started shakily, looking for common ground on “Our Love Is Here to Stay.” Things firmed up considerably as the foursome moved into Morgan’s stimulating improvisation. Van Eps fed the saxophonist rich, well-spaced chords while Morgan ran through lusty, bebop-fired lines. By its end, the tune had socked itself into a durable swing that the guitarist propelled with pulsing three- and four-note blends.

Van Eps, supplying his own bass framing, gave a warm, unaccompanied introduction to “All the Things You Are.” As the group joined at the chorus, Morgan had trouble finding the groove, then redeemed himself during the solo.

The empathy between Hughes and the guitarist shone as Van Eps traced chords beneath the upright bassist’s plucky solo. The two showed similar telepathy on “Have You Met Miss Jones?” as Hughes added counterpoint to Van Eps’ descending lines.

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Most impressive was a duet between Morgan and Van Eps, as the saxophonist circled through the changes over Van Eps’ sturdy accompaniment, played skillfully while he looked the saxophonist square in the eye. When the two seemed liable to fall apart, Van Eps would alter his rhythmic pulse, pulling Morgan back into the fold.

As rewarding are the between-tune stories told by Van Eps--of the “Lucky Strike Hit Parade” orchestra falling apart in the early days of live television, of being bounced as a child on George Gershwin’s knee, of Fats Waller’s way of playing checkers with shots of booze.

Friendly, intimate affairs, Van Eps’ monthly appearances at Kikuya also are musical events of the first order. Guitarist and bassist Hughes returns July 13, with a guest artist to be announced.