JAZZ REVIEW : Vibraharpist Delivers Styles and Sounds in a Vig Way : With a little help from his friends and machines, the musician-composer-arranger offers a pleasing dose of variety.

There was a little something for everyone Sunday afternoon at Gustaf Anders restaurant. Want a swinging quartet fronted by the bell-like tones of the vibraharp? You got it. How about a female vocalist, backed by an orchestra, crooning movie themes? No problem. Tunes from a sensitive, Bill Evans-inspired piano trio? A male scat-singer? A little Las Vegas lounge shtick?

All this and more was on view during brunch at the South Coast Plaza Village eatery. The occasion was the appearance of vibraharpist-composer-arranger Tommy Vig and his vocalist wife, Mia, with more than a little help from keyboardist Les Czimber’s trio and, at times, a tape machine.

Vig, the Hungarian-born musician with a host of session credits spanning Henry Mancini and Lalo Schifrin to Quincy Jones and Rod Stewart, worked his way through an array of styles while showing more than a little skill at his instrument of choice. If the long afternoon had a drawback, it was trying to figure out what would happen next.

The vibraharpist, backed by Czimber, bassist John Leftwich and drummer Kevin Tullius, showed strong chops in jam-session treatments of such standards as “Summertime” and “On Green Dolphin Street.”

Before turning the song into a straightforward swing fest, Vig worked the kind of harmonic and rhythmic eccentricities into Thelonious Monk’s “Straight, No Chaser” that Monk himself probably would have approved of. For Dizzy Gillespie’s “Night in Tunisia,” he pulled his marimba, with its wooden bars, next to his metal vibes and alternated lines between the two, contrasting their slightly different tonal characteristics to colorful advantage.

Vig’s best technical display came during a piece he identified as “Paganini’s Etude No. 5.” His rollicking interpretation, backed by a taped, synthesized orchestra, was packed with blistering runs and chordal play that found him swaying from one end of his instrument to another.

Mia Vig, a vocalist who, as a youth, made appearances on Ed Sullivan’s variety show, highlighted her husband’s Mancini connections with a straightforward version of “The Days Of Wine and Roses.” Using prerecorded orchestral backing as well as her spouse’s accompaniment, the singer put warm, accurately pitched tones to such tunes as Gershwin’s “The Man I Love” and “As Time Goes By,” all presented without stylistic bravado and a minimum of pretense.

Without Vig, Czimber’s satisfying combo strutted their stuff on a number of well-chosen standards. The pianist played with intelligence and sophistication, displaying enviable rhythmic sensibilities on Wayne Shorter’s “Footprints,” Shorty Rogers’ “Casa de Luz” and Jobim’s “One Note Samba.”

Bassist Leftwich, who makes an appearance on Rickie Lee Jones’ forthcoming album, proved an adept soloist, utilizing the full range of his instrument while sprinkling improvisations with pops in the high end and wonderfully harmonic double-stops. Drummer Tullius, an inventive timekeeper, exchanged lines with both Vig and Czimber that balanced bouncy bass and tom-tom passages with snappy snare and cymbal exercises. The drummer also showed his vocal abilities when taking a boppish scat lead on “Straight, No Chaser.”

And the lounge shtick? It came on Vig’s “California Fantasy,” a medley of tunes all with Golden State themes, again with taped orchestral backing.

Introduced as a percussionist for the number and clutching a pair of cymbals, Mia spent the entire piece shuffling through an endless length of sheet music, preparing several times to strike a note that never seemed to come. After several teases, her moment arrived at the piece’s climax, which she graced with a crash. The routine, presented twice during the afternoon, brought little in the way of laughs.