All-Stars Create Con-Fusion

The Kirk Whalum-Jeff Golub-Philippe Saisse concert Sunday at the Galaxy Concert Theatre was an all-star, crossover gathering that lent perspective on the current state of jazz-fusion. The results weren’t encouraging.

Though nominally headed by saxophonist Whalum, the group is really a collaboration of three artists with varying levels of visibility on the crossover scene. Whalum has enjoyed a rewarding association with fusion superstar Bob James and has released a host of albums for Columbia and, most recently, Warner Bros. Guitarist Golub’s smooth jazz band Avenue Blue is a favorite on WAVE-station formats. Keyboardist-producer Saisse records for the Verve label and has been heard with everyone from Chaka Khan and Vanessa Williams to David Bowie and the Rolling Stones.

The three took turns presenting their own music, plugging their respective albums and generally showing off their musical wares. Ego clashes were nowhere to be seen, but a lack of seriousness, possibly due to the small turnout, and the repetitive nature of the beats and musical moods made for a long, tiresome evening.

The differing approaches displayed by Whalum, Golub and Saisse neatly capsulized the three principal forms of jazz-fusion. Whalum embraces the sax-based, rhythm-and-blues-inspired style. Golub constructs moody synthesizer backdrops, then floats his electric guitar tones over them. Keyboardist Saisse favors the lush, up-tempo workout.

*

Their 90-minute set opened on a promising note when Saisse and the rhythm section--bassist Don Patterson, percussionist Mike Smith and drummer Sean McCurley--struck up Bobby Timmons’ soul-jazz anthem “ ‘Moanin’ ” that dates to the ‘50s. Set to a strong backbeat, the gospel-influenced number gave Saisse, who studied at the Paris National Conservatory and Boston’s Berklee School of Music, a chance to show considerable technique and feeling.

Golub came out to put some twang in the Average White Band’s hit “Pickin’ Up the Pieces” before moving into more impressionistic territory. His most representative number was “Stockholm,” a tune with a decided chill that suggested foggy streets and a certain melancholy.

Whalum came out to play backbeat and ballads pulled from his half a dozen albums. Only glimpses of his sizable technique and ability to communicate with an audience were on view, even though, at one point, he moved into the audience to generate excitement. He seemed to catch fire--momentarily--during Saisse’s “X-Factor” building his solo into the upper octaves with cries and overtones before again retreating into the mundane.

Near the end of the show, Whalum’s brother, Kevin Whalum, came out to sing in impressive Al Jarreau-style Bill Withers’ ‘70s hit “Use Me.”

*

By contrast, opening act Mr. Gone showed just what was missing from the later collaboration, namely worthwhile material. Led by bassist Tadd Schumacher, the five-piece band, making its first public appearance, paid tribute to the legacy of the bass guitar pioneer and Weather Report member Jaco Pastorius, who died in 1987.

Though in need of a little polish, Mr. Gone played enthusiastic versions of “Teen Town,” “Birdland” and the Joe Zawinul tune that gives the group its name (and served as Pastorius’ nickname). The set demonstrated how inventive, out-of-the-ordinary material can make even the most pedestrian band sound interesting.