Jazz connoisseurs already know that Pat Mallinger ranks high among Chicago saxophonists. His contributions to the Chicago Jazz Ensemble and other key groups long ago made him a first-call player in this city.

But not everyone realizes how skillful a composer Mallinger has become, a point that became apparent in a recent performance. Making a rare appearance as bandleader, rather than sideman, Mallinger unfurled several compositions that showcased his considerable gifts as melodist. With the relentlessly inventive Bill Carrothers backing him on piano, Mallinger stepped forward as a jazz composer of distinction.

Consider "Burning the Wood," a new work that Mallinger and his dynamic rhythm section introduced to a large audience. From its opening bars, the piece showed the hallmarks of a striking jazz tune: attractive melody, driving rhythmic undertow, dramatically climactic moments.

But Mallinger and friends went beyond the obvious, developing "Wood" for all it was worth. Playing alto saxophone, Mallinger brought an incantatory, chantlike quality to the composition not implied at its outset. Pianist Bill Carrothers--whose harmonic sophistication has to be heard to be believed--only deepened the work's impact.

Mallinger's "Sunshine Rollins" proved still more effective, if somewhat less original. Written to evoke the spirit of romantic ballads from an earlier era, the song celebrated the bebop era of its namesake (tenor saxophone icon Sonny Rollins).

Within this context, though, the piece attested to Mallinger's ability to pen a jazz nocturne of indelible lyric beauty. One easily could imagine an earlier era of tenor men--such as Von Freeman or Johnny Griffin--wrapping their gorgeous, autobiographical sounds around this piece. Once again, Carrothers fleshed out the work with unexpected harmonies, while drummer George Fludas and bassist Dennis Carroll made sure that the music surged ever forward.

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