Jazz Reviews : Pianist Jones Reveals His Range in Loa Performance

The career of Hank Jones, the pianist who appeared at the Loa in Santa Monica from Friday through Sunday, has spanned more diverse worlds, from “The Carol Burnett Show� to “Captain Kangaroo,� than most performers could cover in two lifetimes. Yet it was clear from the first eight bars that jazz remains his strongest suit, just as it is his first love.

The Loa gig marked a reunion with bassist Ray Brown, who was his colleague 40 years ago in the backup trio with the first Mrs. Brown (a.k.a. Ella Fitzgerald). They lost no time Friday re-establishing a tight rapport, with superlative support from a much younger colleague, drummer Jeff Hamilton.

Early in his New York years, it was debated whether Jones, newly arrived from Pontiac, Mich., was in fact a be-bop pianist. The point is still questionable, since that is just one of several territories in which he is at ease, though his use of Charlie Parker’s “Au Privave� as an opener left no doubt that bop in particular feels like home turf to him.

He invaded other areas with consummate control, bringing his very special chorded sensitivity to a minor blues, “Windflower,� with its somber, improbable changes. His only unaccompanied number, “Oh What a Beautiful Morning,� was another illustration of his harmonic mastery.

Single-note lines, two-handed chording, incisive octave emphases--every approach seemed like second nature to Jones. Brown’s support, though overmiked, was as solid as his solos were inventive, and Hamilton, who had discreetly stuck to brushes during most of the set, offered a brilliant drum solo in which he virtually played the melody of “Caravan� on the snare.

The set ended delightfully with a jaunty, Erroll Garnerish two-beat blues, composed by Brown and confusingly titled “A Very Hip Rock ‘n’ Roll Song.� Was rock ever really this hip? Or did Jones, Brown and Hamilton create the illusion?