JAZZ REVIEW : 3 Friends With Fond Recollections

A good thing came in threes Thursday at the Orange County Performing Arts Center with the appearance of Joe Pass, George Shearing and Joe Williams in a program billed as “A Gathering of Friends.” The concert was presented as part of the Irvine Symphony Orchestra’s Performing Arts Center Series.

Pass opened solo with a playful, yet polished, presentation of standards. The guitarist achieved an almost orchestral effect, backing single-note melody statements with smart chording and the infrequent bass lines, toying with rhythms and twisting familiar themes into something barely recognizable. “ ‘Round Midnight” opened at a gentle, reserved pace before shifting into swing. In an Ellington tribute, “Mood Indigo” evolved into “Satin Doll” with a line from “Don’t Get Around Much Anymore” thrown in near the end.

Pass’ subtle ability to move between moods shone on Oscar Hammerstein’s “It’s A Wonderful World,” developing from a stately dance-like figure into a rich, rhythmic affirmation.

The guitarist added percussion to his complex voicings with pops of his strings and infrequent taps on his instrument’s body.

Shearing, in the company of bassist Neil Swainson, also stuck to familiar numbers, which he embellished with shifting textures and rhythms. Standouts included his moody reading of “Misty” and the crisp, unison statement between bass and piano on the theme to Miles Davis’ “Donna Lee,” the bop-era workhorse that Shearing managed to work into a barrelhouse rag. A particularly somber rendition of the World War I nostalgia tune, “Lili Marlene,” was full of foreboding derived from a minor key setting.

And yes, Shearing played his signature tune, “Lullaby of Birdland.”

Bassist Swainson seemed a perfect musical foil for his employer, supplying a steady walk, speedy theme statements in tandem with the keyboard and melodic, to-the-point soloing. His improvisation on “Donna Lee” was a showcase of agility and ideas.

On the downside, the pianist delivered much the same between-tune chatter (“Delighted to see you,” is the blind musician’s standard greeting to an audience) that he used during his Performing Arts Center appearance last year, even stooping to tell the same jokes. One would hope that this tired patter might reflect something new the next time he comes to town, or be dropped altogether.

Williams, backed by Shearing, Swainson and drummer Clayton Cameron, put his bouncy, brassy voice to blues and standards such as “Just Friends” and Ellington’s “I Let a Song Go Out of My Heart.” Despite his reputation as a blues singer, Williams’ was most satisfying while performing ballads, which he delivered with warmth and conviction. His reading of Thad Jones’ “A Child Is Born” was particularly moving, accented by Shearing’s hushed, minor-key lullaby that closed the tune.

Pass’ inclusion on the last few numbers almost seemed an afterthought. Nearly inaudible when providing accompaniment, the guitarist stepped out for short, slippery improvs before disappearing back into the mix. The three men closed with a tune from Williams’ Basie days, “The Comeback,” which the singer dedicated to those serving overseas. Pass, Shearing and Williams will appear Sunday at UCLA’s Royce Hall.