MUSIC REVIEW : Etta James Wows San Diego Fans

The Church of Etta James was in session Wednesday night, and the congregation shouted, sang along and shook a tail feather or two. Clearly, her fans worship her. James, who has belted out sassy blues vocals since the early 1950s, held forth at Humphrey’s Concerts by the Bay with her nine-piece Roots Band. She may be older, but she hasn’t lost any of her brassy stage presence. Informed that the fire marshal didn’t want anyone dancing in front of the stage, she challenged him to step forward. When no one appeared, she called him something nasty.

James is a big woman, but she is not self-conscious. During several sexy numbers, she shimmied her hips, pouted her lips and bent over the piano to wiggle her behind. Time and again, the crowd shouted its approval of her antics.

Her vocal style dates back to original blues shouters such as Bessie Smith. James sings about real life with such grit that you can almost taste blood, sweat and tears. Yet her performance showed she is also capable of smoother, jazz-based passages that showcase her tremendous range and careful use of dynamics.

The two-hour set covered a good portion of her career, from the 1950s to the new “Stickin to My Guns” album. The band opened with three funked-up instrumental numbers before James took the stage to sing “Breaking Up Somebody’s Home.” She worked her way through “I’d Rather Be Blind,” “Somethin’s Got a Hold On Me,” “Come to Momma” and other longtime staples before launching a 1960s medley that included “You Are Mine at Last” and “Trust in Me.”

She was back in 1990 for “Beware,” “Your Good Thing (Is About to End)” and “Whatever Gets You Through the Night,” all from the new album. Then guitarist and bandleader Josh Sklair laid down a chugging John Lee Hooker-style boogie while James explained how the blues began with chants sung by Southern slaves.

The band propelled James through the set with its ferocious power. Bassist Bobby Vega bobbed and weaved as he snapped off funky bass lines in synch with rock-steady drummer Herman Ernest. Sklair added biting guitar fills. The horn section pushed the beat, led by dreadlocked saxman Richard Howell.

About the only disappointment was that James didn’t sell out. The 1,000-seat outdoor venue was only about two-thirds full.