JAZZ / DIRK SUTRO : Top Saxophonists Offer S.D. Both Ends of the Spectrum

The appearance in San Diego this month of two saxophonists at the peak of their form makes an interesting study in contrasts.

Alto master Lou Donaldson has been turning out pure blues-rooted be-bop for nearly 40 years, achieving some success, but relatively little notoriety. Through Oct. 1, he’ll be playing the jazz room at Elario’s in La Jolla, which holds just over 100 people.

Kenny G, at the opposite end of the jazz spectrum, has made a quick rise to the top of the charts since his first album came out in 1982. His six Humphrey’s Concerts by the Bay (Sept. 27-29) sold out weeks in advance. That’s 6,000 tickets.

Arista Records must love the young saxophonist. His album “Duotones” went double platinum, and his last album, “Silhouette” is nearly triple platinum. That’s roughly 5 million copies between the two.

Donaldson, 63, doesn’t even have a U.S. recording contract right now, but he doesn’t seem to mind. He spends at least half his time on the road, where his live performances are in constant demand.

Kenny G has a video on VH-1, the adult music video channel. Donaldson doesn’t, yet he finds an appreciative, if substantially smaller, audience.

“The style I play, I’m just about the only one left who plays it,” Donaldson said. “People who want to book that type of music have to call me. It’s the same with the Dixieland players. There are just a few of us around, so we get all the work.”

Since last year’s release of “Bird,” Clint Eastwood’s ode to the late sax great Charlie Parker, Donaldson has found renewed interest in his Bird-influenced style, especially overseas.

“Japan, Europe. We go to Europe a couple times a year,” he said.

“Nostalgia sets in. People want to buy the records I made in the ‘50s. Most of the guys on those are deceased, I can’t get them back. I make records, but in Europe and Japan, where I can use them for promotions. It’s hard to do that here.”

Still, Donaldson isn’t too pressed to record because of the various re-releases on compact disc of his vintage albums.

Donaldson considers the Blue Note album “Blues Walk” to be the best of his CD reissues. The ‘50s date included his longtime pianist Herman Foster and conga player Ray Barretto, an unusual addition to a be-bop band.

Over the years, Donaldson has established a reputation as a player who doesn’t resort to honks, squeals or gimmicks. On “Blues Walk,” for example, he gives subtle readings of six songs, among them three Donaldson originals. A more recent album is “Live in Bologna,” recorded about two years ago but difficult to find in music stores.

Donaldson was looking forward to his San Diego gig for a reason other than music. An avid golfer, he shoots in the low 80s and hopes to test himself on some local courses.

Saxophonist Daniel Jackson’s last recordings were made with drummer Lenny McBrowne and the Four Souls in the early ‘60s. Later, Jackson worked with Ray Charles and Willie Bobo, but these days, he makes his living as a pianist with nine regular gigs including weekend brunches at Croce’s downtown and a Sunday night jam session at The Abbey restaurant on Fifth Avenue.

This Friday and Saturday nights, he unveils a new quintet at RUSE Performance Gallery (447 4th Ave.). Eventually, he hopes to land a recording deal.

Jackson began his sax career as a tenor man, but took up the alto by fluke.

“I was in Mexico about ten years ago, and the small town I was in didn’t have a tenor, so I bought an alto,” said Jackson. “I’m struck with people like Sonny Stitt and Sonny Criss who go from tenor to alto easily. I admire people who do that and maintain the credibility of their particular tonality. When you play alto, you have to concentrate on tone production and the technical side of things. Of course, you do that on any sax, but the alto has a totally different tonality.”

Jackson’s music is designed with maximum room for improvisations by all band members. Yet Jackson said the music will appeal to diverse tastes. He’ll play shows each night at 9 and 10, and promised a mix of originals and standards.

RUSE doesn’t serve alcohol, so the shows are open to jazz fans of all ages. Tickets are $5.

RIFFS: Following jazz pianist Dave Brubeck tonight, and the delicate fusion music of Hiroshima Friday night, Kenny G closes out Humphrey’s summer season. This year, Humphrey’s enjoyed 17 sellouts among its 42 shows. Only two acts were cancelled due to poor ticket sales: Laura Nyro and jazz brothers Hubert and Ronnie Laws. . . . Light jazz guru Art Good is getting ready for his Third Annual Jazz Trax Festival on Catalina Island Oct. 6-8. The lineup includes Oceans, Ricardo Silveira, Dan Siegel, David Benoit, Keiko Matsui, Tim Weisberg and Acoustic Alchemy. Tickets are available through Teleseat, 1-800-876-SEAT. . . . Culbertson Winery in Temecula is hosting a series of outdoor Sunday afternoon jazz concerts beginning Sunday with Fattburger. The music lasts from 4 to 6 p.m., and tickets are available from Ticketmaster outlets or at the door. . . . Fashion Valley shopping center wound up its summer jazz series with a Sept. 10 performance by synthesizer wizard David Arkenstone, who played to a standing-room-only audience. This was the third summer for Sunday jazz at the mall, but the first featuring national acts. No decision yet on whether the series will be repeated next year.