JAZZ REVIEW : Vinnegar Welcomes Friends in Indigo Return

A number of musicians--some of whom he invited to share the bandstand--turned out for Leroy Vinnegar’s homecoming Thursday night at Indigo Jazz Club in Compton.

The three-night engagement marked the nimble-fingered bassist’s first Los Angeles appearance since he moved to Portland, Ore., more than two years ago. Before his move, Vinnegar had been a center post of support in the Los Angeles jazz scene for more than three decades.

During the second and brief third set, the tall, broad man with a shock of graying hair--whose instrument seemed almost diminutive against his girth--played a brace of mainstream tunes that was highlighted by “Melody for Thelma,” an enchanting, sinuous Blue Mitchell bossa nova. Here, pianist Bill Henderson swayed between slowly stated ideas that were filled with space and dashing note-dense structures that were delivered with disarming ease.

On “Polka Dots and Moonbeams,” where Henderson also offered a throaty soprano sax improvisation, and a Sam Jones blues, “The Chant,” Vinnegar displayed his sweet, supple sound, which was a balancing point between Henderson and lithe drummer Tootie Heath and his as-ever rock-solid time. “The Chant” found the bassist soloing with fluid “walking” lines, as has long been his fashion, while on “Thelma” he opted for more horn-like stance to tell his story.

Later, he invited singer David Whitfield up to the bandstand. Whitfield all but buried “My Funny Valentine” in vocal and physical histrionics. In the third set, saxman Teddy Edwards and pianist Dwight Dickerson cruised through “Four” and “Bag’s Groove” with efficient musicianship, Edwards soloing with his inherent bluesiness and Dickerson adding a spark with his jaunty rhythms and neatly turned melodies.

Vinnegar, with Edwards, Henderson and Heath in tow, closes tonight.