JAZZ REVIEW : STAGE STILL BELONGS TO PEARLIE MAE

A question lingers after Pearl Bailey’s Ambassador Auditorium concert in Pasadena Tuesday night: How can a performer be outdanced by a septuagenarian former Apollo Theater chorus girl, outsung by her daughter and outdone as a musician by her drummer-husband and still come out on top?

The answer must lie in Bailey’s extraordinary capacity to entertain and her inordinate ability to bring out the best in those with whom she chooses to share the stage.

Taking time away from her ambassadorial efforts (she’s long been spreading American good will throughout the world), her studies (she recently received a theology degree from Georgetown University) and her writing (she’s authored five books), Bailey opened her first Los Angeles show in too many years by announcing that she’s “on the road again.”

Her opening number, a medley of city tunes, showed her low-range alto in fine shape on an uptempo tune. Such was also the case on tunes like “You’d Be So Easy to Love” and the perennial favorite, “Won’t You Come Home, Bill Bailey.” Though her voice is well suited for the uptempo musical-comedy repertoire (her longest-running stint as Dolly in “Hello, Dolly!” is testament enough), her purity of tone, vocal definition and emotional clarity came through best on the few ballad numbers she included in her no-intermission concert. “Something Wonderful,” “Memories” and the perfectly gorgeous “Can You Read My Mind?” were far and away her best efforts.

But the fun came when Bailey ran into Helena Stewart and the sold-out theater. A former dancing partner from the Apollo, Stewart’s impromptu gyrations offered definition to those who wondered what shake-dancing was all about. And the tears flowed when Bailey’s daughter, DeeDee Bellson, shared the stage with Los Angeles’ 1977 Mother of the Year for a moving rendition of “Evergreen.” Bellson easily outclasses any of her singing contemporaries with her perfectly intoned, emotive style.

The music provided by drummer Louis Bellson, pianist John Bunch, guitarist Remo Palmier and bassist Milt Hinton was spectacular. As accompanists, the quartet could not be topped; as an instrumental combo, they wailed on “After You’ve Gone” and a staple blues.

And after all of that, Pearlie Mae remained the brightest star in a shining constellation of entertainment.--A. JAMES LISKA