Flaws Point to a Gem in Bill Watrous

Let’s say it right from the top. Trombonist Bill Watrous’ first set Friday at Steamers Cafe in Fullerton wasn’t his finest performance. There were a few moments--maybe two--during the performance with a quartet when Watrous’ celebrated fluidity flowed uphill and his sensible way with a solo briefly deserted him. These things happen frequently to even the best jazz improvisers.

If these few minor lapses make for an off night from Watrous, it’s only because we’re so accustomed to hearing him play with perfection. And, on his behalf, it must be said that Watrous was constantly trying things other trombonists wouldn’t dare touch. If trombone playing were an extreme sport, Watrous would be the top daredevil, the guy who seldom takes a tumble.

Here, he played ballads with his usual finesse while storming through the up-tempo tunes with adventurous ease. His long lines on “Once I Loved” cut brilliant loops like a child waving a sparkler. On Michel Camilo’s “Why Not?” he managed to be smooth one moment, punchy the next. On an extremely fast versions of “The Song Is You” he showed his affinity for bebop lines, carving them out with knife-like precision.

While his trombone play aspired to expected lofty heights, his singing, something he’s been doing again for the last several years after abandoning the craft in his 20s, showed marked improvement.

Working in smooth, direct tones on “She Was Too Good to Me,” Watrous showed an affinity for Chet Baker’s vocal style, treating the lyric with respect while avoiding show-off embellishments that only cheapen the lyricist’s intent. His voice, more firm and even than Baker’s, still showed a Baker sensitivity. That sensitivity continued as he picked up his trombone for an instrumental interlude.

As a balladeer, the trombonist has few equals. His velvet tone, masked somewhat by strong amplification, set a masculine yet romantic mood, and his attention to melody, done as a singer would, established warm, often subtle moods.

Watrous employed equally strong personalities to back his play. The pianist Shelly Berg, certainly one of the most enthusiastic players on the scene, juggled rollicking harmonics and post-stride rhythms in up-tempo numbers while appealing to beauty during ballads. Bassist John Leitham, a longtime associate of the late Mel Torme, soloed in straightforward manner while supporting with rhythmic accents and undeniable spark. Drummer Dave Tull did more than keep time, spurring the quartet through the changes then soloing with almost melodic combinations of tom-toms, snare and cymbals.

As Watrous warmed to his work, he overcame the brief snatches where he seemed to be casting about for something to say, instead playing with strong intent and confidence. As with a diamond, the occasional tiny flaw lets us know that Bill Watrous is the real thing.