JAZZ REVIEW : Jean-Luc Ponty at Wiltern Theatre

There’s nothing complicated about Jean-Luc Ponty’s approach to a performance. Turn on the amps, crank up the sound and get down to business. And that’s exactly what he did at the Wiltern Theatre in a concert that provided a generous portion of his high-speed, fusion-style, no-nonsense violin playing.

It is, of course, academic by now that Ponty’s music has come full circle from the period in the ‘70s when he was viewed by many as the next great jazz violinist. But his abandonment of the jazz mantle for a more commercially viable style has not resulted in the loss of his improvisational skills--far from it.

Virtually every piece--and there were many, from “Imaginary Voyages” to “New Resolutions”--showcased Ponty’s vibrant playing. True, his phrasing relied more on speeding than swinging, and his tendency toward repetitious scale patterns lent a certain degree of predictability to the solos. But there was no denying the spectacular momentum he generated, especially in the faster numbers.

Ponty’s four-piece ensemble, performing arrangements perfectly designed to showcase his solos, displayed a similarly no-nonsense approach. Guitarist Jamie Glaser and keyboardist Wally Minkow soloed effectively from time to time, and bassist Baron Brown and drummer Rayford Rayfield laid down an irresistible carpet of rhythm.

One of the best moments of the Saturday evening concert, however, came when Ponty gave his band a break, brought on his daughter to play piano, and performed a lovely interpretation of the Chopin Prelude No. 20. It was a welcome pause from the balance of the program’s high-voltage energies, and suggested that his programs might well benefit from more such reflective moments.

Keyboardist and synthesist Suzanne Ciani opened the show with a brief but attractive set. She wisely made extensive use of the acoustic piano for her evocative, low-key melodies.

Ponty and Ciani also performed a second concert at the Wiltern Sunday night.