JAZZ REVIEW : L.A. Jazz Choir Shows It’s Got Rhythm

Like a big band, a vocal ensemble can often succeed just on the size of its sound. But when a singing group shows as much craft and polish as the L.A. Jazz Choir did Sunday in an afternoon concert at Cafe Lido in Newport Beach, the experience can be particularly bracing.

Jazz is the operative word in the group’s name. The choir, which is approaching its 10th year under the direction of Gerald Eskelin, concentrates on show and pop tunes done with careful consideration of rhythms. The 12-voice ensemble--which was backed at the Lido by piano, bass and drums--is a crisp, disciplined outfit that, despite its well-rehearsed demeanor, still knows how to swing.

The choir uses arrangements that take full advantage of the harmonic possibilities presented by 12 voices. Members define rhythms with percussive sounds or scat while others blend on the lyrics. Call-and-response becomes high art as members trade lines or add echoing flourishes. Rich, involved chords add emotional depth.

Dick Williams’ arrangement of “The Girl From Ipanema,” with its breathy percussive rhythms and snappy lyrical twists, took on new character as it moved at the pace of a stroll on the sand. A tune written by keyboardist Milcho Leviev for the late Don Ellis, entitled “Don’s Song,” also utilized vocal percussive effects to back a somber, Mediterranean-flavored melody. (Leviev is penning a seven-movement jazz suite that will have its premiere at the choir’s 10th-anniversary concert at UCLA in May.)

A medley of pop tunes from back when--including “Jukebox Saturday Night,” “The Boogie-Woogie Bugle Boy” and “It’s a Blue World” (performed just last week at the Lido by its originators, the Four Freshmen), was balanced with a blues-thick version of “Sweet Dreams (Are Made of This),” the tune made popular by the Eurythmics in 1982. Eskelin asked drummer Chuck Flores to “give me some Krupa” for the introduction to “Sing, Sing, Sing” as the choir added rich harmonics to the jungle beat.

Eskelin selected members of the ensemble to take scat solos during “Jumpin’ With Symphony Sid” as the members looked around nervously to see whom he would choose next--or was that part of the choreography? Rick Kasper opened with warm, rhythmic high jinks until Marcia Chastain jumped in with a more direct, can’t-touch-this style. Barbara Keating capped the bop fest with sweet, soaring word-play.

The best moments of the afternoon came during an a cappella version of “Ma’am’selle” from the 1947 film “The Razor’s Edge,” a tune whose love-during-wartime lyrics seem especially poignant. The winsome ballad ended on an especially rich sustained chord that left the capacity audience silent at its conclusion.

The rhythm team of drummer Flores, bassist Tom Hill and pianist Eric Doney provided able support and the occasional improvisation. They did a rolling version of “Willow Weep for Me” without the choir that was anchored on the bass line of Miles Davis’ “All Blues.”

The L.A. Jazz Choir will appear at Birdland West in Long Beach on Wednesday, Feb. 27.