Horn Sideman Shines in Front

Jazz fans know trumpeter Carl Saunders as the perennial Southern California sideman, a guy who was 18 when he joined Stan Kenton in the ‘60s and now stands tall in the bands of Bill Holman, Gerald Wilson and others. With a resume that includes stints and/or recording dates with Ella Fitzgerald, Tony Bennett and Horace Silver, the determined improviser and exceptional ensemble player has made himself a presence on the music scene.

Friday at Steamers Cafe in Fullerton, Saunders made one of his infrequent appearances as front man, leading a sextet of top-shelf musicians in a smart program of standards and originals that made the most of the group’s trumpet-trombone-tenor sax front line. Warm, wise and satisfying, the performance balanced strong elements of collective and individual play.

Of course, the trumpet was central. Saunders is a player of tremendous enthusiasm who can stretch lines far beyond the normal limits of breath at speeds well above cruising. He often one-upped already fast phrases by repeating them with embellishments in double time. No note was too high--or too low--in service of his improvisational cause.

Despite the vigor of his attack, Saunders remains devoutly lyrical, if not always melodic, soloing with a sense of flow that can be followed like a path. Even at its most technically demanding, his play carried an honest, natural feel.

Contrasting sounds with saxophonist Jerry Pinter and trombonist Andy Martin, Saunders created glowing themes that blended the horns in unison at times, harmonized them at others.

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Pinter and Martin, both noted session men themselves, brought their own improvisational personalities to the proceedings, the trombonist’s astounding strength and command weighing in against the saxophonist’s more reserved, inquisitive style. Pianist Christian Jacob, the French-born Maynard Ferguson veteran who records for the Concord label, added to the personality with deeply harmonic solos carrying hints of classical influence.

Backed by bassist Chris Colangelo and drummer Santo Savino, the group took its time coming together on Saunders’ “Admired” (“Sounded more like ‘Mired,’ ” the trumpeter joked). Jacob lushly introduced “You Don’t Know What Love Is” before the horns cast varied harmonies on the theme. “Blue Room” gave each wind instrumentalist a chance to demonstrate aerobic strength.

Saunders’ arranging skills were apparent on “I Got It Bad (And That Ain’t Good),” with its descending bass line and fluegelhorn color.

His own “Never, Always” was an appropriately titled, timeless hard-bop theme. “Blues on the Side” let the trumpeter show that he can bend and smear notes with the best of them.

The sextet pulled together even more tightly as the evening progressed. “Caravan” was driven by Savino’s rolling jungle beat. Pinter quoted freely from Joe Henderson as the group performed Henderson’s “Recorda Me.” Saunders’ “This Is the Blues” brought out the band’s raunchy side.

Here’s hoping Saunders finds more opportunities to appear with this serious, straight-ahead ensemble. He stands as tall as a bandleader as he does a sideman.