POP MUSIC REVIEWS : Bad Sound Mix Hurts Manhattan Transfer

Someone should have told the Manhattan Transfer’s audio engineer that the group’s vocals are a bit more important than their backup accompaniment. To a listener a third of the way into the audience at Universal Amphitheatre on Thursday, at least 75% of the quartet’s lyrics were virtually indecipherable, buried in an overwhelming quagmire of keyboards, bass and drums.

Too bad. The Transfer, the dust of a 50-plus concert tour barely shaken from its shoes, sang with the electric energy of a triumphant homecoming. The vocalists were at the top of their form, as versatile and innovative a singing group as pop and jazz have to offer.

The first half of the show was devoted to vocalese settings of such pieces as “Birdland,” “Corner Pocket” and “Joy Spring.” No problems there. Tim Hauser and Janis Siegel and Alan Paul are masters of the style; Cheryl Bentyne was only a bit less adept, most notably in her sometimes awkward rhythmic phrasing.

The balance of the evening featured material from the Transfer’s recent album, “The Offbeat of Avenues.” Siegel’s “Sassy” and “10 Minutes Till the Savages Come” and Paul’s atmospheric “The Quietude” were highlights--fascinating indications of the quartet’s continuing desire to expand its creative horizons.

Unfortunately, few of the new songs’ lyrics--despite their obvious musical attractions--managed to make it past the sound mix. The Transfer (which continues at the Universal through tonight and moves to the Irvine Meadows Amphitheatre on Sunday) is understandably proud of the range of its music. What a shame that it had to be heard through the monochromatic funnel of a rock ‘n’ roll sound mix.