Jazz Review

Jeff Lorber would probably be the last person to want to take responsibility for today’s smooth jazz format. But the fact is that the first albums by his Jeff Lorber Fusion group, which included a saxophonist then known as Kenny Gorelick (and now known as Kenny G), virtually established the template for a generation of instrumental pop artists.

Lorber took a break from playing in the mid-’80s to concentrate on producing acts such as Eric Marienthal, Michael Franks, Luther Vandross, Chaka Khan and, yes, Kenny G. But since 1993, he has been back in the performing trenches, moving easily across genres and bringing some vitality and substance to the mundane qualities that characterize much smooth jazz.

On Friday night, at the Baked Potato Hollywood, Lorber did precisely that, performing in bravura fashion on keyboards and guitar. The program ranged from such early Lorber numbers as “Tune 88” and “Pacific Coast Highway” to the title track from his just-released Zebra Records album, “Midnight.” Lorber’s technical skills were on full display--strongly jazz-oriented in his keyboard work, a bit too dangerously close to rock in his guitar playing.

But the most appealing aspect of the music centered around the interaction between Lorber and saxophonist-keyboardist Gary Meek. Working in tandem, clearly stimulating each other musically, they played the written segments of the pieces with near-symbiotic togetherness. And their soloing, especially during Meek’s strong soprano saxophone and flute work, was filled with a conversational tossing back and forth of musical fragments.

Lorber’s quartet--which also featured solid rhythm section support from bassist Nate Phillips and drummer Joel Taylor--drew a capacity crowd to the newly opened club. The room’s comfortable ambience, location (at Sunset and Vine) and aggressive booking are going to quickly position it as a welcome addition to the Southland’s jazz scene.