Mitchell Works Crowd at Gala

For keyboardist Billy Mitchell, jazz is all about communication and involvement. So it was no surprise that Mitchell’s quartet, appearing Sunday afternoon at the Huntington Beach Art Center’s “Jazz at the Center” fund-raiser, got the sellout crowd of more than 100 involved in the fun, persuading them to clap to clave rhythms, sing along to “Pennies From Heaven” and dance wherever a small space could be found.

The Texas native, long based in Los Angeles, has made frequent appearances in Orange County, including dates at Steamers, Spaghettini and the late, lamented Restaurant Kikuya.

Despite his myriad activities promoting jazz and supporting jazz education, Mitchell still does his best work from the bandstand.

Teamed with saxophonist Robert Kyle, drummer Frank Wilson and bassist Chris Clarke, the pianist delivered a mostly serious first set of standards to those crowded into the Art Center’s “black box” performance space, which, with the addition of small, candle-lit tables, became a nightclub for the performance.

During the second set, Mitchell drew the audience in with musical high jinks, audience participation and his usual winning stage presence.

The group opened with Jerome Kern’s “Yesterdays,” the keyboardist slowly swirling in hints of the melody as if he were stirring batter for some fine pastry. Clarke and Wilson added color during the introduction until the tempo was established and Kyle’s tenor picked up the theme.

The group used the same tactic for “On Green Dolphin Street,” again working up the tune from simple ingredients. Before the first set was over, the band had explored “What Is This Thing Called Love?” at a fast pace, Antonio Carlos Jobim’s sultry “Corcovado” and Mercer Ellington’s “Things Ain’t What They Used to Be,” a tune whose carefree feel hinted at the good times to come.

Mitchell showed his devotion to the lyrical in each number, even as he executed long, fast-paced phrases. His improvisations took on an inquisitive feel as he punctuated them with trills, repeated figures and bluesy asides.

He saved his most aggressive play until after the others had soloed, and he kept his bandmates on their toes by circling around a tune’s close before bringing it to an end.

Kyle’s reserved tenor style carried a sophistication most appropriate for this afternoon soiree. He displayed a more frantic side during “What Is This Thing Called Love?” as he heated his play on the fire of Wilson’s sizzling brush work. During the second set, he displayed a raunchier side on a blues-based “Route 66,” then demonstrated a beautiful way on soprano for “Pennies From Heaven.”

Clarke, a recent Texas transplant, recalled renowned bassist Eddie Gomez in his accurate pitch and in his melodic way with a solo. Veteran drummer Wilson brought decibels and double times to his solos while enlivening the play of his bandmates with a variety of well-timed accents.

Mitchell had warned audience members he liked to turn his performances into parties, and he did just that in the second set, coaxing fans to clap and sing along, even challenging them to find a place to dance.

The Alliance of the Huntington Beach Art Center, which hosted Sunday’s concert, couldn’t have found a more enlivening act to bring in. And judging by the turnout and enthusiasm of those attending, the center would do well to schedule more musical events of this sort.