My early initiation into jazz was heavily influenced by recordings of the Modern Jazz Quartet, which probably explains my personal attraction to that piano/vibes/bass/drum format. Locally I have enjoyed some semblance of the MJQ with Herb Pilhofer’s Quartet, which includes his son Michael on drums. Last weekend at St. Paul’s Artists Quarter, Michael managed timekeeping duties with another quartet, featuring local jazz virtuoso and educator Laura Caviani on piano and her former University of Michigan cohort Ben Thomas on vibes; Laura’s former UW-Eau Claire student, young bassist Graydon Peterson, very ably filled out the foursome.

Now based in Seattle, this was Ben Thomas’ first appearance in St. Paul, and hopefully the enthusiastic crowd and obvious chemistry on stage will bring him, and this group, together many times in the future. Laura Caviani of course is no stranger to Twin Cities’ jazz audiences, having performed countless times with her piano trio, with the always-interesting Soul Café project, and with well-established groups such as Departure Point and the Pete Whitmen Xtet. Lately she has also turned her creative juices into the exciting collaboration of the Millay Project under the leadership of Prudence Johnson.

The vibraphone brings a flavor to small jazz ensembles quite unlike the “vibe” of a quartet anchored by horns or guitar. Depending on the musicians’ intentions, the vibes (or marimba) can push the piano into the background rhythm section and truly take over the lead, or serve as another supporting voice, or, as in the case of the Laura Caviani Quartet, assume an equal partnership in promoting melody and improvisation. And when old friends reconnect, the resulting combustion can be gloriously stimulating.

As a leader, Caviani is both forceful and generous. As a pianist/composer, she is powerful, energetic, eclectic, and inventive—a combination that guarantees to keep you engaged throughout two long sets. On recordings as well as live performances, she frequently tips her hat to Thelonius Monk, directly as on this night with “I Mean You” and “Bemsha Swing,” and indirectly through her own quirky lines and rhythmic shifts (“Going There,” “Supper’s Burning”). Her lyrical single lines often yield to complex improvisations of urgent runs and two-fisted chording (“Three in One,” “Alone Together”); more intricate lines might dissolve into a total deconstruction (as on “Bag’s Groove”). Playing it beautifully straight (as on her intro to Horace Silver’s “Peace”) or delightfully bouncing it beyond recognition (“Bemsha Swing”), on standards, her own or Thomas’ compositions, Caviani gives her audience a master class in the range of mainstream jazz. A highlight was her new composition, “Going There,” a Dixie delta tinged float down a river of melody, quirky shifts and stops—wherever it’s “going,” you want to go with it.

Compatriot Ben Thomas proved to be an exciting sparring partner throughout the night, alternatingly cerebral and playful, tinkling and bombastic, striking lightning single lines or multi-mallet chords. Bringing his own compositions to the stage as well as adding his strong solo and comping chops, Thomas often took the melodic lead (“Alone Together,” “It Could Happen to You,” Bag’s Groove”), engaged in some delicious dueling with bassist Graydon Peterson on “Bemsha Swing,” and provided essential atmospheric elements on “Going There,” draping it in a sonic swampy mist. Clearly stimulated by a “home” crowd, Thomas introduced his own compositions with humorous anecdotes, including a hard swinging “Still Living With Mama” (“I’m not!”), the gently bouncing “Dorothy’s Green Slippers,” and the burning finale, “Bolt 45.” Most delightful was the interplay between old friends Caviani and Thomas, be it shadowing each other’s ostinato undercurrents on “Tobacco Blues,” skipping together on “Dorothy’s Green Slippers” or trading and then joining lines on “Three in One.”

And yes, this was a quartet, and the support of Peterson and Pilhofer was central to the groove. Peterson had plenty of room to show his potential to develop into one of the area’s top bassists. Of his many strong efforts of the evening, most enjoyable were his reprisal of the piano’s lines on “I Mean You,” walking beneath the vibes on “Bag’s Groove,” his slips and slaps on Caviani’s “Watching the Game,” and his duel with Thomas on “Bemsha Swing.” Pilhofer’s contributions were typically subtle and restrained, emphasizing shading and texture over pyrotechnics, but never losing the pulse. “Bemsha Swing”—always a good vehicle for quirky play—benefited from his offbeat rhythms that added to the tension; out front on “Tobacco Blues,” his tapping snare and busy cymbals added a funky layer.

Throughout the evening, the communication, sharing, and apparent pleasure of each other’s company belied that fact that this was the quartet’s first collective effort. Coming together most effectively on “I Mean You,” “Bag’s Groove,” “Bemsha Swing,” and Caviani’s new tune, “Going There,” this quartet brought a simmering, shimmering glow to chamber jazz, one that bears repeating. Hopefully repetition—in the Twin Cities—is on their schedule.

Laura Caviani appears on August 15^th, 3-5 pm with Soul Café (House of Hope Presbyterian Church, St Paul); see www.lauracaviani.com. Catch Ben Thomas in the Seattle area, August 27-29, with the Ed Dunsavage Quartet at Poppe’s Bistro in Bellingham, WA (www.jazzproject.com).