JAZZ REVIEW : Boogie-Woogie Fluegel Boy : Tony Guerrero Shines at a Show That’s as Much Party as Concert

It was appropriate that Tony Guerrero opened his show Wednesday at the Coach House with “Mangione,” his tribute to fellow fluegelhornist Chuck Mangione.

The 2 1/2-hour concert, a release party for Guerrero’s new album (see accompanying review), pointed out the similarities the young man and his often-cited inspiration share. Both favor the middle range of the instrument for their romantic, often Spanish-tinged compositions. And, like Mangione, Guerrero likes to set himself up in a variety of instrumental settings.

That was apparent as a small mob of musicians--all of whom appear on the album, “Another Day, Another Dream”--shuffled on and off the stage during the long single set. In addition to his eight-piece working band, the fluegelhornist-trumpeter performed in a duo with bassist Brian Bromberg, in a cello-keyboard trio augmented with a vocalist and, in the grand finale, with a not-quite big band of 11 pieces.

It was during these visits from special guests that Guerrero’s best work was displayed, work that demonstrated a utility not obvious from his recorded work.

Most rewarding was the trio of Guerrero, Christie Staudhammer on cello and Mike Garson, a keyboardist best known for his work with the classically oriented jazz combo Free Flight.

The three expanded on the fluegelhornist’s “Daydream” (from the new album), turning the slightly dull recorded version into a touching example of warmth and interplay. Garson’s acoustic solo introduction shifted through involved passages that, at times, suggested the richness of Art Tatum before Staudhammer and Guerrero joined in and proceeded to pass the melody back and forth between them while Bill Cantos added a wordless vocal.

“Lu’s Blues” teamed bassist Bromberg, on upright, with Guerrero’s muted trumpet in a lament that recalled some of the New Orleans styling that Wynton Marsalis brought to the Coach House earlier this month.

Bromberg’s full-bodied tone and ticklish double stops inspired his partner into some of his most tonally expressive moments, while the bassist’s solo melded sparkling runs with chords plucked with both hands on the neck of his instrument.

Guerrero stepped aside while singers Cantos, Andrea Vibe and Michael Martin performed three tunes that the fluegelhornist had co-written. Other settings saw saxophonist Greg Vail take to the clarinet in the company of Guerrero and valve trombonist Mike Fahn for a Dixieland medley that featured the trumpeter’s gravelly, Louis Armstrong-inspired vocal on “Bill Bailey (Won’t You Please Come Home).” Saxophonist Gary Gould swelled the ranks to 11 for a jam-minded “Buckethead Shuffle,” a tune that was long ago and far away from Guerrero’s recent work.

The length of the program worked against the octet pieces as the Latin-tinged rhythms and melodies became indistinguishable from one another. Good efforts from keyboardist Tom Zink, guitarist Brian Price, bassist Steve Billman, drummer Bob Harsen and percussionist Brian Kilgore kept some individuality in the proceedings.

But this was as much a party as a concert. Cake and champagne were passed out to those in attendance, while the man of the hour dished out thanks from a list as long as any Emmy winner’s. The only break during the proceedings came while door prizes were handed out.

Special mention must be made of Canto’s impromptu scat that detailed the ins and outs of the recording business. That, and Guerrero’s own heartfelt soloing, made it an evening to remember.