Steamers Jazz Club is a Fullerton fixture and a staple of the SoCal jazz scene. Today it fills to overflowing; the crowd spills out into the sidewalks and onto the streets. Busy servers fill plates with appetizers and take orders from new arrivals.Daniel St. Marseille is here to perform -- he's in this place often; he proposed to his wife here a decade or more ago. Today is ostensibly a graduate-level recital for a Cal State Fullerton degree, so Dan has gathered the masters, young and old, for an afternoon of sublime sound and good-natured competition.
A half-dozen pieces, three of them composed by St. Marseille, fill a bustling club with inspired improv: keyboard battles trombone, guitar mocks piano, soprano sax mixes it up with everyone. Tom Hynes on guitar nearly steals the show in the final number; yet every other musician matches his level of excellence, each on his own instrument. Today, Hynes is on fire: He is absolutely ablaze.
For this listener (and from an informal survey of surrounding tables) the sentimental favorite today is "Emily" -- a Johnny Mandel tune sung by Julie Andrews in the title role of 1964's "The Americanization of Emily." Since then Frank Sinatra and Tony Bennett have made it their own, but today it belongs entirely to a lone saxophonist, standing center stage and waving off the band for a bluesy, soulful solo. Not that we don't love improv --- such creative noise, and so much of it! --- but in "Emily" we find today's center (and we can usually locate the melody line too).
The band beautifully deconstructs "Speak Low" early in the set. A Kurt Weill piece composed for musical theater, the song has been covered by almost everyone. Today the original is systematically taken apart, then joyously reassembled in several new ways, by a sax teacher and graduate student, together with his hand-picked cohorts -- each at the top of his (sorry gals, the musicians were male today) game.
A word about these cohorts: The aforementioned Hynes kicks the walls out on guitar. Both Chris Dawson and Ryan Pryor dispense sheer excellence via the keyboard, each in an entirely different form. Pryor is simple, soulful, sardonic --- Dawson swings samba and riffs majestically on 3-piece combo interludes. Roger Shew lays down the bass with masterful authority: Is he the best bass in SoCal? Today's performance argues yes. Joey Sellers takes a trombone where it hasn't gone before (through the roof) and brings the house down in the process. Thomas White caresses the percussion with meticulous consistency: the epitome of cool. And on the final number, Jonathan Rowden riffs an impressive alto sax line as Maestro St. Marseille opts for soprano. The full band, in full voice, closes out "Ka Leo" (a St. Marseille composition) with a playful freedom that displays not only great confidence, but also much purity of form. Yet today, in the final analysis, belongs to the man who gathers all these talents together in one place, for one purpose, then directs their genius into full view. That man, noticeably more relaxed after each amazing piece concludes well, is Dan St. Marseille.
Mr. St. Marseille, you have graduated. You earned a PhD. from this listener and from each of the six or seven tables in every direction nearby. Don the robe and square off the cap: You're the new master!
Keep track of what's happening in this busy jazz venue (http://www.steamersjazz.com/) and keep an eye on the future of composer and musician Dan St. Marseille, plus a rising sax star in Jonathan Rowden, and each other member of today's crew. Live musical performance, much like sessions in the recording studio, is a continuous mix-and-match of players and skills, friends and cohorts, instruments and genres. Today St. Marseilles shows us inventive compositions, impressive arrangements, and bulletproof skills on the sax. All that, plus a knack for surrounding himself with first-rate talent. Sheer genius, and an afternoon well spent.
