Kenny Garrett Quartet

Kenny Garrett

On Kenny Garrett's last album, Pursuance (Warner Bros.), he tackled the m

usic of John Coltrane. During his most recent Philadelphia appearance with Chick Corea, he took on the music of Bud Powell. With his seventh album, Songbook (Warner Bros.), Garrett faced an even more daunting task — crafting an album comprised entirely of original compositions. The alto saxophonist and his bandm

ates tear through the Garrett repertoire with incomparable style. Garrett's rhythm section — Kenny Kirkland, Jeff "Tain" Watts and Nat Reeves — forms the perfect cradle for each song.

"I'm very interested in keeping this band together," Garrett says without hesitation. "In order for me to do what I visualize, I need steady musicians, [a situation] where I can write, be inspired and have a group sound." At the center of that sound is Garrett's saxophone. He infuses his distinct alto sound with the expressive depth of a tenor, often blowing powerful long tones in the alto's low register.

"My first influences were Grover Washington Jr. and Cannonball Adderley," he recalls. "Of course, growing up in Detroit, all the tenor players were influenced by Dexter [Gordon], and the alto players were influenced by Jackie McLean."

Garrett's professional career began at age 18, with the Ellington Orchestra. He went on to work with Mel Lewis, Art Blakey, Woody Shaw and Freddie Hubbard. In 1986, he landed a coveted, high-profile gig with Miles Davis. Garrett stayed with Davis until the trumpeter's death in 1992. "I was fortunate, because I caught the end of an era," the 36-year-old says. "Today, I guess I'm considered one of 'the guys,' even though I don't look at it that way."

All modesty aside, Songbook should strengthen Garrett's already stellar reputation. While several of his compositions pay homage to his mentors ("Wooden Steps" for Woody Shaw, "Brother Hubbard" for Freddie, "Before It's Time to Say Goodbye," for Miles), Garrett stamps each song with his own musical identity. He sounds just as comfortable exploring bold Middle Eastern scales in "Sing a Song of Song" as he does riding the airy samba of "Ms. Baja." Garrett laughs aloud at the thought of naming specific compositional influences. "Music comes from so many different places," he says, adding: "Today I got up, and I just heard this melody. I sat down at the piano to figure it out. I still have no idea where it came from."

Garrett gives high priority to keeping an audience entertained — "because when I go to a club as a listener, I want to be entertained." But unlike his smoother counterpart, this Kenny G. doesn't water down the music. "I just try to present myself," he says. "This is me, this is Kenny Garrett... Basically, I just try to play the music that I hear, and hopefully, there's people who want to hear it." If Songbook is any indication, the G-Man has nothing to worry about.

Fri. & Sat., Aug. 1-2, 7 & 9:30 p.m., Zanzibar Blue, Broad & Walnut Sts., 732-5200; 732-4500 for reservations.

— Nate Chinen