O.C. JAZZ REVIEW : Grappelli Freshens Up Classics : You’d never know violinist has been playing same old songs for 50 years.

What becomes a legend most? When the legend is Stephane Grappelli, the answer is simple: It’s what made him a legend in the first place.

So there were no complaints at the Coach House Sunday night as the 84-year-old violinist, backed by guitarist Bucky Pizzarelli and bassist John Burr, delivered the same goods he’s been delivering for so long: swinging arrangements from the American songbook (Jerome Kern, Cole Porter, the Gershwins) and brief a nod to his days in Paris with Django Reinhardt, all filled with Grappelli’s trademark lively, melodic improvisations. Here’s one old dog who doesn’t need to learn any new tricks. He’s already got a bagful.

But that’s not to say that the concert was just more of the same. Though the playlist was almost tune-for-tune the same one Grappelli has performed for years, the improvisational treatments, as well as fresh arrangement variations, brought new life to the presentations. Grappelli’s smart, carefree style belies the fact that he’s been playing some of this material for half a century.

Take, for example, the trio’s rendition of “How High the Moon.” Grappelli’s slow, sweet introduction led to his up-tempo improvisation backed by clipped chords from Pizzarelli and Burr’s studious walk. The violinist accelerated over the tune’s bridge, adding plucked accents with his left hand while lacing octave leaps through his vigorous lines.

Grappelli’s sly references to both pop and classical themes also enlivened the program. He filled “Don’t Get Around Much Anymore” with classical figures Paganini might admire, and he dropped a bit of “Bolero” into “Them There Eyes.” His way of laying lines slightly behind the tempo before accelerating into fleet, on-the-beat statements was especially satisfying.

Pizzarelli and Burr were equal partners in this theme-and-variations approach. The guitarist, besides being one of the tightest accompanists around, added lyrical, note-at-a-time improvisations or solos plump with frantic chord statements.

Burr erected solid foundations and filled his accompaniment with clever embellishments as well. His unaccompanied “Makin’ Whoopee” was a playground full of swings and slides and received one of the evenings’s biggest ovations.

Grappelli took to the keyboard for a richly detailed medley that reflected his admiration of Art Tatum. Though his rhythmic accuracy occasionally missed the mark, the depth he brought to the piece made for a rich, emotional statement, and he displayed harmonic smarts that can only be hinted at on the violin.

By the time he closed the number with a striding “Satin Doll,” it was apparent that he could swing on the larger instrument as well.

Maybe the most impressive aspect of the set was the interplay between the three men. The crisp counterpoint between Grappelli and Pizzarelli during “Night and Day” made for an involved passage that turned into a heated dance figure. “I Got Rhythm” romped like children playing tag, while anchored by Burr’s steady footing.

This was an evening full of grace, charm and intelligence, underscored by Grappelli’s infrequent but touching words to the crowd (he acknowledged the ovation for his piano work by saying in his quiet voice, “It was very kind of you to let me practice”).

Hearing Stephane Grappelli in person is one of life’s most encouraging pleasures. We look forward to hearing him play “As Time Goes By” again next year.

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