A Sampling of Smooth Styles at Bowl

The variety of pop-oriented music usually identified as “smooth jazz” actually far exceeds the boundaries of that too-limited label. And the annual JVC Jazz Festival at the Hollywood Bowl almost always provides an opportunity to experience a few of the music’s many directions.

With only three acts on the bill for Sunday night’s concert, the number of choices was limited. But the evening’s lengthy program still offered a broad range of colorful musical styles and stimulating rhythms.

Tenor saxophonist Steve Cole, in the opening spot, played a set that remained comfortably within the instrumental pop arena pioneered by Kenny G. But Cole, despite constantly striding from one side of the stage to the other, lacked G’s performing charisma, as well as his capacity to come up with engaging musical material. As a result, his program served primarily as dinner music for the crowd, many of whom were still arriving well past the unusually early 6 p.m. start time.

The veteran group Fourplay is currently celebrating its 10th anniversary. Although the quartet’s orientation shifted somewhat a few years ago when guitarist Larry Carlton replaced original member Lee Ritenour, the goals remain the same: bring a taste of mainstream swing and improvisational inventiveness to accessible, instrumental pop jazz.

Concentrating primarily upon music from the just-released album, “Heartfelt,” its first on RCA, Fourplay’s versatility was on full display. Pianist Bob James frequently brought his solos vividly to life via the insertion of crisp bebop phrases; Nathan East matched his sturdy bass work with some lighthearted scat singing; and drummer Harvey Mason illustrated, as he so often has done, his skill at bringing character and diversity to hard-driving funk rhythms. Topping off a set with a number that had the large audience enthusiastically waving handkerchiefs, Carlton, in a solo showcase number, played the blues with an imaginative skill reaching well beyond the parameters of smooth jazz.

George Benson’s program displayed yet another way to stretch the boundaries of pop jazz. Although he devoted a good portion of his lengthy presentation to his numerous hit tunes--”Turn Your Love Around,” “Everything Must Change,” “The Ghetto,” etc.--he more than compensated for the frothy moments by countering with a series of fiery guitar solos.

Benson was reaping the benefits of the Smooth Jazz genre before the label came into existence. But as he revealed throughout his set, he has never allowed his substantial success as a pop artist to overshadow the simple fact that--when he chooses to do so--he can still run with the big guys in the straight-ahead jazz field.