JAZZ REVIEWS : McShann: Spirited Trip to ‘30s

NEWPORT BEACH — Just because pianist Jay McShann has a career that stretches back well over 50 years, don’t expect him to sound like a relic. McShann’s concert at the Hyatt Newporter on Friday was as notable for the modern touches he brought to his playing as it was for the spirited re-creation of the late 1930s Kansas City sound.

Take his unaccompanied introduction to “Willow Weep For Me,” a tune that lends itself well to the blues-and-boogie feel that defines the Kansas City style of McShann’s younger days. With the rhythm suspended in a manner similar to that often used by his junior colleague Keith Jarrett, McShann created a somber mood of woven textures with only minor hints at the melody. As the beat began to assert itself in his attack, the pianist inserted a line from “Love In Bloom” (Jack Benny’s old theme song) that was as clever for its lyrical contrast to “Willow” as it was for the seamless way it fit into the flow of the tune.

When bassist Dave Carpenter and drummer Jake Hanna joined in to firmly establish the rhythm, McShann began to stride with that wily left hand of his, while adding gospel touches to the familiar melody with his right. Blues lines alternated with tremolo effects before giving way to long, thoughtful lines full of meaning. By the time he turned the tune over to saxophonist Plas Johnson, McShann had told a story that spanned the length of his distinguished career.

Not that there weren’t plenty of moments that might have been pulled straight out of his early K.C. days. The keyboardist was in full stride during a host of boogie-woogie numbers, his potent left hand covering all the rhythmic and harmonic bases. He brought a strong blues flavor to such standards as “Body and Soul,” and there was plenty of swing in his rendition of “Just Friends.” But there was also plenty of sensitivity in his playing, and, especially on the ballads, the kind of emotional expression that Bill Evans might have admired.

Saxophonist Johnson, an in-demand session man and infrequent leader best known as the richly toned tenor on the original version of Henry Mancini’s theme for “The Pink Panther,” was a smart addition to McShann’s foursome. Though plagued at times by a squeaky reed, something to be expected during a cool, outdoor performance at twilight, he brought wonderfully honed, blue lines to the proceedings. He frequently started a phrase with a low, marshmallow-sweet tone before biting into the upper register. Even when stating a theme, he couldn’t resist messing with it, a practice that gave such often-heard refrains as “What A Difference A Day Makes” new life.

Carpenter also brought modern touches to the performance. Because of McShann’s powerfully rhythmic left hand, the bassist was free to explore a tune’s content, even when working in support. His melodic solos made use of his instrument’s entire range and were filled with smart touches, such as his nod to Miles Davis’ “Milestones” during “Willow Weep For Me.” Hanna remained spare, considered and tasteful throughout the proceedings, adding distinctive color with unison hits of his snare and cymbals, while resisting the temptation to double up on the timekeeping chores when McShann was at his rhythmic peak.

The pianist added his voice to a number of tunes, delivering the lyrics in an unenunciated whine that, at times, seemed devoid of consonant sounds. The vocals served the purpose of touchstone, bringing a cozy familiarity to an already intimate performance. When he closed “Georgia” by repeating the line “just an old, sweet song,” it was hard not to be moved.

McShann’s concert was recorded and will be aired Thursday at 9 p.m. by “Jazz Live at the Hyatt” co-sponsor KLON, 88.1 FM.