ASTRUD GILBERTO WITH A HEAVY BOSSA NOVA BEAT

Just 23 years ago the professional debut of Astrud Gilberto came about by chance, when her then-husband, Joao Gilberto, introduced her to Stan Getz. Her record of “The Girl From Ipanema” with Getz catapulted her to stardom. After a long retirement, she returned some years ago in a very different setting, which she introduced to Los Angeles audiences Tuesday, beginning a six-night run at the Vine St. Bar & Grill.

Gone are the lambent tones of the tenor sax and the gentle, understated Brazilian rhythms. In their place is a group dominated by a jazz trombonist and indulging in a more voluminous bossa nova beat. For the first few numbers the effect was disconcerting; too often Gilberto’s less-than-limitless vocal powers were swamped by the quintet, pouring hot sauce on her vanilla ice cream sound.

Singing most often in Portuguese, sometimes in English, she gradually came into focus, starting with “Goodbye, America.” This 1950s Brazilian song found the band in a more subdued mood, eliminating the need for her to rise above it. Moreover, trombonist David Sacks played several explosively expressive solos and sang occasional unison with Gilberto. Completing the group were her son, Macelo, on bass, guitarist Romero Lubambo who pulled a George Benson by playing and scatting in unison on “Ipanema,” Steve Herrick on keyboards and drummer Duduka Fonseka who supplied the set’s highlight with his solo on the berimbau, consisting of hypnotic rhythmic variations on two tones. The quasi-primitive groove carried over into a Gilberto original, “Xango.”

“Waters of March,” that most ingenious of all Antonio Carlos Jobim’s melodies, was tackled efficiently though a trifle fast, in Portuguese. Michael Franks’ “Amazon” in English offered a well-placed contrast. Surprisingly, the performance ended with the rarely heard English lyrics of “Caravan.”

What makes Gilberto’s present setting work much of the time is the overall ambiance established in those songs that best integrate the vocal and instrumental elements. By the time the set is over, one is satisfied with Sacks and forgets about Getz.