Superb ‘200-Proof’ concoction at the Bowl

Jazz at the Hollywood Bowl 2004 finally got it right. After a succession of programs juiced with some sort of pop or marginal jazz element, Wednesday’s concert -- “Cool, Pure, 200-Proof” -- eliminated the junk-food frills in a perfectly planned gourmet feast of superb contemporary jazz.

The names of participants provide an instant indication of the evening’s high quality: Michael Brecker, Dave Holland and Joe Zawinul. Each is a masterful jazz artist performing at the top of his game. Beyond that, each arrived with a powerful, provocative ensemble: Brecker with a colorful 15-piece ensemble he calls his Quindectet; Holland with his Big Band; Zawinul with his worldly musical Syndicate.

The Quindectet, playing arrangements by keyboardist- accordionist Gil Goldstein, was one of the more intriguing combinations in recent memory. Balancing a string quartet with a seven-person horn section (embracing three brass and a quartet of doubling woodwind players) and a four-piece rhythm section, the ensemble’s timbral palette was enormous. Goldstein made the most of it, often in distinctly unpredictable fashion, especially in the potent “Syzygy” and the rollicking take on Celtic music, “Itsbynne Reel.”

Brecker roared through the evocative musical surroundings with his familiar combination of stunning virtuosity and improvisational clarity. And in one solo segment, playing the EWI (Electronic Wind Instrument), he laid out a convincing case for the imaginative jazz potential within the musically abused world of electronic loops and samples.

Holland’s Big Band, a more traditional ensemble, generally played big-band charts, mostly written by Holland. The spotlight here, however, was on the group’s superb soloists.

Start with Holland, whose various intros, transitional passages and improvised moments were flawless, his enviable technical brilliance always at the service of his creative mind’s eye.

Add to that stunning choruses from alto saxophonist Antonio Hart and vibraphonist Steve Nelson, a brilliant, whirlwind solo from Chris Potter, and trombonist Robin Eubanks’ soloing (and composing) on “Mental Images,” and the set left nothing to be desired (except, perhaps, more time, which became obvious when the Holland Band was unceremoniously rotated off stage, presumably for exceeding the allotted time).

Zawinul’s efforts to find fruitful connections between jazz and other world music -- especially African -- have long been essential to his Syndicate. And, once again, the result was compelling, a lush combination of clustered electronic sounds and surging rhythms, topped off with the soaring vocals of Sabine Kabongo.