JAZZ REVIEW : Peggy Lee Basks in Warm Reception at Raymond : The singer was in her glory in rare appearance at the newly renovated Pasadena theater.

It was the perfect conjunction of elements: the right artist with the right repertoire in the right location. Peggy Lee was in all her glory Friday for a rare concert appearance at the newly reborn, delightfully Art Deco Raymond Theatre in Pasadena.

Three different kinds of applause were offered before or during the show. First, there was the applause of impatience as the capacity crowd grew restless until the performance started 40 minutes late.

Within a short while another kind of reaction had set in--the applause of recognition.

Moments after her accompanying group (a six-man combo sometimes assisted by a string section) played the introduction to some perennial Lee specialty, the anticipatory reaction would begin. But third and most significant was the applause of appreciation.

This was a warmly affectionate audience that compounded the good vibes generated by the star, culminating in a jubilant reaction during which, for the only time, the singer--who is in a wheelchair because of a variety of illnesses--rose to her feet.

Her lack of mobility, far from inhibiting her, seemed to work to her advantage as she wheeled around, turning to the musicians as they soloed.

The songs ranged from the 80-year-old “Beale Street Blues” (part of a stunning blues medley) to such recent originals as her own “Boomerang.” This was one of a dozen Lee originals--her own lyrics, with melodies by her or with collaborators such as Victor Young (“Where Can I Go Without You”), Johnny Mandel (“The Shining Sea”) or Emil Palame (“A Circle in the Sky,” brilliantly arranged by her ex-pianist Mike Renzi).

Long known for her exquisite balladry (who else can bring such evocative grace to “The Folks Who Live on the Hill”?), Lee by no means confined herself to love songs. There is no he-and-she theme in such storytelling tunes as “Is That All There Is,” “I’m a Woman” or “He’s a Tramp.”

Along the way, Lee reminisced about everything from Basie’s band (she heard it as a teen-ager) to Bogart’s boat (she sailed on it).

In the super-efficient back-up unit led by bassist Max Bennett, three solos stood out: Jeff Jorgenson on saxophones, David Silverman on piano and, most particularly, the admirable guitarist Brian Price, who played “Beale Street” as if he had never left there.

Is that all there is to a concert? Someone sits at center stage, sings 32 songs and earns a standing ovation? If the someone in question is Peggy Lee, that indeed is all there is, and all there need ever be.