Saxman Holloway to Play the Horton Grand Hotel

In the United States, saxophonist Red Holloway often plays small clubs like the Horton Grand Hotel’s Palace Bar in downtown San Diego, where he’ll appear Friday and Saturday nights. In Europe, though, Holloway and other top jazz players sell out large venues the way major pop bands do stateside.

“I just got back from Germany,” said Holloway last week. “If I want to make any money, I have to go to Europe. In Europe, they have one-nighters like the rock artists do here. I played some one-nighters in opera houses that held 4,500, and we sold out two shows a night.”

Holloway, now in his sixth decade as a jazz musician, was in Germany as part of a Benny Goodman tribute tour with a group that also included trombonist Curtis Fuller, trumpeter Joe Newman, clarinet man Peanuts Hucko, bassist Bob Haggart, pianist Lou Stein and drummer Oliver Jackson. Holloway never played with Goodman, but he did a stint in 1957 with Lionel Hampton, who was in Goodman’s 1930s bands.

Holloway estimated he has played on more than 300 albums, including projects outside jazz with John Mayall, Jimmy Dean and others. Among them, Holloway has a personal favorite: “It’s the album I produced on my own, where I did exactly what I wanted to do, ‘No Tears Over You,’ from 1983,” he said. Five of the six songs are Holloway originals. The band included bassist Richard Reed, pianist Dwight Dixon and drummers Jimmy Smith and Gerry King. You won’t find the record in stores, but Holloway will sell copies at the shows this weekend, or you can buy one by mail (send a check for $10 to him at 1551 Pierce Ave., Cambria, Calif. 93428).

Holloway’s last album, a collaboration with trumpeter Clark Terry titled “Locksmith Blues” and released in 1989, isn’t too shabby either. Terry, a technical master, teams with Holloway on several standards and a few of Holloway’s own compositions.

On both alto and tenor saxes, Holloway swings his way through full-bodied, melodic solos. He cites Charlie Parker as a primary alto influence, along with tenors Ben Webster, Coleman Hawkins, Lester Young and Arnett Cobb; Holloway has played with both Webster and Cobb.

Holloway also sings occasionally. He described his voice as rusty.

“I have a blues-type voice. You know, ‘I don’t like the way you act, and you ain’t treatin’ me right. . . . ‘ “

In San Diego, Holloway will be joined by the Rolls Royce of local rhythm sections: bassist Bob Magnusson, drummer Jim Plank and pianist Mike Wofford. Music begins at 8:30 both nights.

Drummer Chuck McPherson first met drummer Max Roach in 1979, when he served as a roadie for Roach’s percussion ensemble, M’Boom. Roach gave the young drummer a few tips, and last month, while Roach was in San Diego for rehearsals of the San Diego Rep’s production of “The Life and Life of Bumpy Johnson,” with Roach’s music and McPherson on drums, Roach served as a stern mentor once again.

“There were a lot of times when he would be yelling at me,” McPherson said of the rehearsals. “He didn’t let me get away with anything. Sometimes you need someone to bust your chops a little, to sharpen up your playing. He offered a lot of constructive criticism.

“One thing was, I wasn’t keeping consistent time. Now my time feel is much more consistent. Also, the importance of using brushes and of getting different sounds and colors out of my set than just with sticks. He made me use brushes, and he even made me use my fingers. And he told me to be more dynamic, to not play loud all the time, to keep my sticks and brushes closer to the drums sometimes so I play softer.

“He never sat down and played a song all the way through, but he would sit down for two or three minutes and demonstrate things. He’s the epitome. He’s the master. All of the rest of us are children.” McPherson will appear with “Bumpy Johnson” through Feb. 16.

Pieces of a Dream, which plays the Bacchanal on Friday at 9:30, defies categories. Group founders Curtis Harmon (drums) and James K. Lloyd (keyboards) have definite jazz leanings--they’ve worked with Lionel Hampton, Dexter Gordon and the Basie band, and their popular early 1980s albums were produced by saxophonist Grover Washington Jr. More recently, though, their music has headed in a light R&B;/pop jazz direction, with several cuts featuring vocals.

The band has a new contract with the fledgling Star Trek label, and the leaders hope to redefine their sound once again, with Washington and keyboardist Onaje Allan Gumbs mentioned as possible producers.

“What I’m looking for is basically an Anita Baker or Sade-type sound, maybe just a little jazzier than that,” Harmon said. The group will record a new album later this month.

In San Diego, the lineup will include Lance Webb on vocals, Scott Ambush on bass and Fred Pena on keyboards. Harmon promised a mix of material from several of the group’s 1980s albums.

RIFFS: Guitarist Larry Coryell, whose star initially rose during the 1970s with several fusion albums, has returned to his straight-ahead roots in recent years. He plays tonight only at Elario’s, with shows at 8 and 10. . . .

Singer-percussionist Elliot Lawrence plays All That Jazz in Rancho Bernardo Friday, and saxophonist Bobby Gordon appears Saturday. Music starts at 8 both nights. . . .

Vibraphonist Mona Orbeck and husband Tony Ortega, the saxman, play from 6-9 p.m. tonight in the lounge at San Luis Rey Downs golf resort in Bonsall. . . . In honor of Black History Month, KSDS-FM (88.3) is interviewing several influential local musicians during February. This Saturday night at 7, deejay Ron Galon will talk with Jimmie Noone Jr., and Sunday night at 8, host Lou Curtiss will interview Bud Conway. Saturday’s interview will repeat Tuesday at 11 a.m. Sunday’s will rerun Wednesday at 3 p.m. . . .

Brazilian jazz band Sol e Mar plays the U.S. Grant hotel downtown Saturday at 8 p.m. . . .

Guitarist Peter Sprague is working Tuesday nights this month at the Salmon House restaurant on Mission Bay. Music starts at 8:30.