Adding to Count Basie’s Numbers

Though Basie himself went to the grave nearly 15 years ago, the Count Basie Orchestra continues to evolve. Its performance Sunday at the Orange County Performing Arts Center in Costa Mesa found the band pushing forward in repertoire and style, just as it had done during the 50-some years that pianist William “Count” Basie was at the helm.

Under the direction of trombonist Grover Mitchell, an expanded repertoire combined with an influx of younger players allows the orchestra’s sound to span generations effortlessly.

Yet longtime Basie fans need not despair. All the great Basie attributes were still there too: the classic numbers (Freddie Green’s “Corner Pocket,” Ernie Wilkins’ “Way Out Basie”), the rhythm section’s role as musical disciplinarian and the sheer sense of fun.

Mitchell and company acknowledged the 100th birthdays of Duke Ellington and George Gershwin with selections from each. It’s not unusual that the Basie band covers Ellington; they’ve opened many concerts since Basie’s death, including this one, with “Take the ‘A’ Train,” and have a recent album devoted to Ellington material.

In fact, Mitchell worked briefly with Ellington in the ‘60s before joining Basie, so the group he’s now leading may be the best interpreter of the Ellington style, albeit in what musicians call “Basie time,” currently performing.

Come to think of it, there are few jazz orchestras of any inspiration performing at this level. Tight, sparkling and assertive, the 18-piece ensemble imparted confidence and a sense of mischief to its play.

Often, as on Sammy Nestico’s “The Heat’s On,” the rhythm section served as the nucleus of the action, with the horn sections spinning around it. At one point in the tune, pianist Terence Conley nudged the trumpets forward on the sizzling arrangement with sparks of Basie-styled chords.

Conley, guitarist Will Matthews and trumpeter William “Scotty” Barnhart represented a new breed of Basie musicians, players comfortable and competent in traditional styles but also capable of injecting a modern feel into their play.

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Pianist Conley was masterful at re-creating Basie-styled accents and rhythmic push, while occasionally stretching his responses into dissonant, Cecil Taylor-like lines.

Matthews was expert at generating pulse in the relaxed manner of longtime Basie guitarist Freddie Green but also added contemporary touches as he accompanied vocalist Chris Murrell during “Georgia on My Mind.” Trumpeter Barnhart recalled the aggressive styles of Wynton Marsalis or Terence Blanchard as he soloed.

Veterans of the band--those who worked with Basie, including Mitchell, trombonist Bill Hughes, saxophonist Kenny Hing and drummer Butch Miles--provided the historical anchor.

Miles especially brought the familiar Basie drive to the proceedings with his strong, to-the-beat play. Mitchell, who did not solo, added only occasional trombone lines playing with the section.

The group gave a beautiful reading of Alan Ferguson’s arrangement of “I Let a Song Go Out of My Heart,” a lush rendering of “April in Paris” and a snazzy version of Gershwin’s “Strike Up the Band.”

Vocalist Murrell was incredibly warm on “Skylark” and, as all Basie vocalists must, showed strong confidence with the blues. At the end of the concert, the enthusiastic crowd didn’t want the orchestra to leave. So great was the reception, in fact, that it seemed that the orchestra didn’t want to leave either.

This orchestra’s big sound worked well in Segerstrom Hall concert, providing fine complement to the center’s Jazz Club series, in the smaller Founders Hall. Longtime jazz radio deejay Chuck Niles was honored before the start of the show’s second half.