Stewart in Concert: Style and Maturity Beyond His Years

Saxophonist Robert Stewart, at 27, still feels the enthusiasm of youth. But he’s learned not to let it overwhelm his style. While most saxophonists of his generation get by on flashy technique and overwrought passion, Stewart impresses with an extremely attractive sense of tone and a mature, patient style.

Outdoors before a crowd of about 200 Thursday at the Geffen Contemporary at MOCA in Little Tokyo, Stewart’s rich, resonant tenor sound often seemed as grand as the urban skyline framing the bandstand.

The concert, part of the museum’s weekly “Summer Night” series, reunited the San Francisco-based saxophonist (who had come straight from a 2 a.m. recording session in New York with Wynton Marsalis and the Lincoln Center Jazz Orchestra) and drummer Billy Higgins, whose World Stage Records label released Stewart’s first album in 1993.

During the first two of three sets with a quartet, Stewart matched tunes from both his reverent John Coltrane-influenced first album and his last, the down-and-dirty Gene Ammons-inspired “In the Gutta.” Throwing in “Cherokee,” “In a Sentimental Mood” and other standards, often at the request of Higgins, gave Stewart a diverse program that allowed him to showcase his expansive sound. The saxophonist put his glowing tone to good use, blowing in relaxed style even when tempos were at their quickest.

He paced the theme far behind Higgins’ beat on “Invitation,” often abbreviating the lines with obvious wit. He became more propulsive during his solo, springing even with Higgins’ galloping polyrhythms while sometimes echoing the drummer’s accents with bursts from his horn.

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The bluesy “Soul Searchin’ ” found Stewart coasting on a single note whose tonal characteristics changed as the saxophonist glided along. On the droning, modal “Judgment,” Stewart took his time in developing cries, wails and overtones, then aired them in ticklish, understated fashion.

Higgins, who had a liver transplant in March 1996, has retained the smiling character and enthusiasm that have continually defined his play. His snare, cymbal and rim exchanges, though executed less sharply than in years past, are as detailed and entrancing as ever. And his drive, as evidenced on “Cherokee,” remains intense.

Bassist Jeffrey Littleton and pianist Ark Sano provided spirited support and equally character-filled solos.

* The “Summer Nights at MOCA” series, which runs through Sept. 25, continues next week with vocalist Sandra Booker’s quartet. Information: (213) 626-6222.