Trombonist Anderson Slides Energy Up a Notch

When New York-based trombonist Ray Anderson met saxophonist Charles Owens in Paris last month (both men were part of a James Newton-David Murray big-band tribute to Duke Ellington) he mentioned that he’d be visiting family in California over the holidays. Owens suggested to Anderson that they get together and play.

That brief conversation led to Anderson’s appearance Saturday at the M Bar/Grill in Long Beach, his first in Southern California this decade. In an energetic, boisterous performance that brought frequent shouts of encouragement from a standing-room-only audience, the 45-year-old Anderson showed why he is frequently cited as the leading trombonist of his generation.

Though he has worked with such avant-garde luminaries as multi-reed player Anthony Braxton and percussionist Barry Altschul, Anderson is best known for his funk-inspired music recorded with his band Slickaphonics and, more recently, his New Orleans-influenced Alligatory ensemble. He has a long string of critically respected, mostly European-label recordings, both of funk and avant-garde jazz, that stretch back to 1980.

Teamed with Owens, trumpeter Mike Price (on a holiday visit from his home in Japan), bassist Roberto Miranda and drummer Don Littleton, Anderson made merry with every standard, pushing both his sound and expression while injecting slide-happy humor into everything he played.

Anderson took full advantage of his instrument’s sonic characteristics. He showed impressive technique and range on a fleet version of John Coltrane’s “Mr. P.C.” Thelonious Monk’s “I Mean You” opened with a salsa feel supplied by Littleton’s cowbell and conga, but soon turned to a Caribbean shuffle behind Anderson’s impressively gusty bluster. A serious blues evolved into a quick, New Orleans march with the trombonist using a plunger mute to squeeze out wild tones.

Anderson’s humorous side shone as he quoted a variety of holiday music beginning with “Silent Night” against Miranda and Littleton’s conga exchange. At one point during a march, Anderson, Owens and Price descended from the club’s bandstand loft to stand among the audience and wail.

Owens, the Mercer Ellington veteran, proved to be like-minded, blowing heartily and with hints of Coltrane on “Mr. P.C.,” having some soulful fun on the marches. Miranda and Littleton proved particularly responsive, covering Anderson, Owens and Price no matter where they went. Here’s hoping we see the trombonist with his New York-based band in Southern California soon.

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