Twin Palms Becomes an Oasis for Mellow L.A. Quartet

NEWPORT BEACH — The L.A. Jazz Quartet is a guitar-sax-bass-drums group that knows how to strike a mood. Their smooth, somewhat mellow sound was a perfect fit for the sparse holiday crowd in the garden setting of the new Twin Palms restaurant Monday, opening night of a four-day run.

The combo’s style reflects its namesake city with its cool, laid-back, sometimes sunny backgrounds and city-speed cruising rhythms. But the band demonstrated that its book has expanded since its premiere recording, “Astarte” in 1994, to include as well more realistic reflections of the problematic Southern California lifestyle.

This new material, much of it written by drummer Kevin Tullius and bassist Darek Oles, retains the cool, guitar-based sound while developing in more thematically ambitious ways.

The best example of this expanded vision came at the beginning of the second set as Oles’ “Into the Dark,” with its driving beat behind soprano saxophonist Chuck Manning’s lead, closed in a floating interlude that bobbed over guitarist Larry Koonse’s chordal backing.

From there, the band moved without a break into Tullius’ “Session With Garrin,” an up-tempo walk propelled by Oles’ persistent lines. Manning moved to tenor, which he favored during the evening’s first two sets, and threaded his way lightly against the quick-stepping beat.

Even more thoughtful was Koonse’s “Dirge,” a lament that moved at a pace only slightly more aggressive than a funeral march. The theme here, played in unison by the tenor and the guitar, was neither predictable nor difficult as it turned and twisted like a forest path. Koonse used this framework to deliver a probing, pensive solo strong with a strong, impressionistic feel.

Koonse’s guitar provided crisp, light accompaniment and thoughtful improvisations. Manning, who’s been known to play with a hard, John Coltrane-influenced edge, brought a quieter sound to this date, filling his tones with air and a glowing warmth in deference to the restaurant’s atmosphere. His soprano work was likewise reserved in volume, while moving along with grace and speed.

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Drummer Tullius’ soft touch is perfect for the group’s subtle approach. But the drummer’s gentle attack was deceptive, making his detailed play less obvious to the ear. He wove polyrhythms through “Session With Garrin” and Koonse’s “Look to the East.” His play was more sensitive on such tunes as “Dirge” and Tullius’ “Because There’s You,” as he created percussive color with snare and cymbals, sometimes tapping both in unison for off-time emphasis.

But it’s the group sound, underscored by the guitar-sax theme statements, that give the LAJQ its distinctive feel. When the group is particularly in sync, as on Oles’ ballad “Maru’s Dreams,” its interplay is impressively empathetic. This is a quartet that comes together in a single, intelligent voice.

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Because of the friendly acoustics and the sparse crowd, Manning was able to play without amplification, and this chance to hear his direct sound revealed the complexity of his sax’s tone.

The garden patio, with the band playing on a stage backed by a thin slice of a band shell, has a feel that’s part cathedral, part big top with its tent-like, soaring canvas ceiling and well-spaced tables. Louder bands may find their sound muddied by the acoustics here, but the LAJQ sound, neither too loud nor bass-heavy, sounded great.

* The Los Angeles Jazz Quartet plays tonight and Thursday at Twin Palms, 630 Newport Center Drive, Newport Beach. 7 to 10 p.m. No cover. (714) 721-8288.