Singleton Sextet at McCrady's a treat to the ears

The critic's seat was a stool near the entrance, to the right of the stage.

But watching the Charlton Singleton Sextet from a lateral perspective proved to be effective indeed. I could see clearly drummer Quentin Baxter's intricate handiwork; I could see the frontmen in profile, horns projected forward toward the bulk of the audience sitting askew in their regular chairs; I could see pianist Tommy Gill's placid face as his fingers flickered like fire below.

An artist friend who joined me couldn't help but sketch these profiles from the adjacent stool, his quick ink lines echoing the flutter of brass valves and flicks of Baxter's wrist above the snare.

The early gig, part of the Jazz Artists of Charleston's Jazz Series, upstairs at McCrady's Restaurant, marked the beginning of the second and final week of one of the highlights of the Piccolo Spoleto Festival.

Singleton proved himself not only an elegant trumpeter but an adept arranger, and his version of Miles Davis' "Blue in Green" showcased his lyrical, understated style beautifully. He demonstrated his ability to lead a big band on May 22 in one of the most exciting live shows I've seen in a long time (it featured a new arrangement by Gill of Gershwin's "Rhapsody in Blue"), and Singleton's relaxed, hip, thoughtful leadership Monday night only emphasized the fact that Charleston is lucky to have such talent in town.

The brass section included Mark Sterbank on tenor sax and Mitch Butler on trombone. Sterbank is a sturdy fellow who knows how to turn a phrase. With Baxter thrumming behind him, the solos groove nicely. Butler teaches jazz at Claflin University in Orangeburg and occasionally comes to the Holy City for a gig or two. It sure is sweet to hear a swinging 'bone in the band.

Kevin Hamilton on double bass thwacked at his thick strings vigorously, providing more than a necessary low-register foundation; he rocked.

These players are good, very good. It's pretty remarkable that an assemblage of such talent can be heard regularly in this part of the world. But Baxter, it must be said, is special indeed. His drumming more than provides an exciting beat and rich texture to the band; it is music-making magic unto itself.

Singleton, for his part, really ought to take his horn to New York City for a couple weeks of initiation. He's more than ready. He could sit in on a few gigs, trying to hold his own. It could possibly amount to a form of torture, but I bet he'd manage it fine. And he'd come back to Charleston all the richer for it.

For this man is the real deal. And, boy, can he sing.