O.C. POP REVIEW : Natalie Cole: Less Than King-Size

There are some voices in popular music that are so unique, so memorable that they will always be in a class by themselves.

The late Roy Orbison had such a voice. Nat King Cole practically set the standard.

So it should come as no surprise to Natalie Cole that her recent Grammy-winning “Unforgettable” album--a tribute to the songs of her father--sometimes suffers in comparison to the originals.

Natalie, it should be obvious, is no Nat.

Still, the younger Cole showed herself to be a talent on Friday at the Pacific Amphitheatre, where an 80-minute journey down Dad’s memory lane yielded a performance that was alternately powerful, romantic and giddy.

Backed by a core quartet of musicians plus full orchestra, the singer--elegantly attired in a strapless, sleeveless gown of black and blue satin--not only lovingly restored the songs that are her father’s legacy but infused them with her own life and tender recollections. Whatever shortcomings this performance might have had--and it sure had some--it was never less than heartfelt.

As might be expected, Cole handled the more frivolous, pop-infused parts of her father’s catalogue far better, as a rule, than she did the sweeping romantic chestnuts.

She has long been one to scat and bubble in concert, though previously most of her energies were focused on her own hits, such as “Everlasting,” “Jump Start” and “Wild Women Do.” Now that she isn’t doing those songs, at least not on this tour, such Nat Cole hits as “Route 66,” “Straighten Up and Fly Right,” “L-O-V-E” and “Don’t Get Around Much Anymore” have stepped in to fill the void. And the younger Cole is able to navigate them with equal ease.

Friday night she scatted with abandon and grabbed hold of every swinging rhythm her orchestra could furnish--even asking them to reprise a good number of the more rollicking passages. Her rapid-fire, staccato delivery on “Orange Colored Sky” was so full of life it practically leaped off the stage, and a playful rendition of the silly but lovable “The Frim Fram Sauce” was a highlight.

But when Cole attempted to slow things down to a pace more suited to satin, the material often seemed ill-fitted.

If you thought Liza Minnelli had it bad, try to imagine what Natalie Cole must feel like trying to add something--anything--of value to Nat’s classic rendition of “Mona Lisa.” Talk about big shoes to fill.

She actually managed a pretty credible version of that song, set to flamenco guitar and violins, but it was hardly the memorable, otherworldly quality of the original. Ditto for most of the other ballads in this lineup, such as a medley of “For Sentimental Reasons,” “Tenderly” and “Autumn Leaves,” which featured lush arrangements and beautiful orchestral accompaniment but not nearly the vocal depth those songs deserve.

Besides a few Nat Cole chestnuts not found on the “Unforgettable” album and a nonsensical song that Cole remembers her father singing to her as a child, virtually the only other time she strayed from the album’s material was to do Ella Fitzgerald’s “A-Tisket, A-Tasket.” And that, sadly, only proved that Cole doesn’t have Fitzgerald’s voice, either.

The crowning moment of mush--a commodity that Cole freely admitted had its place in the lineup--came on the inevitable “Unforgettable,” when a suspended screen displayed black-and-white footage of Nat and Natalie shadowing each other in song and bonding as father-daughter. Though many in the audience had probably seen the video before on television, there were a suitable number of misty eyes and a standing ovation by song’s end.

Joyous and moving? Sure. Unforgettable? Not nearly.

Opening act Ottmar Liebert and his three-man band, Luna Negra, did a half-hour set that was far too brief for anyone who enjoys flamenco guitar and worldbeat instrumentals.

The German-born Liebert is an undeniable talent, combining flawless playing and an understanding of Latin rhythms with a kind of modern pop sensibility that makes those styles palatable to a wider audience, yet manages to mostly maintain their integrity.

Songs like “Reaching Out 2 U (Todos Bajo La Misma Luna)” from Liebert’s newest (“Solo Para Ti”) album captured and kept hold of a sparse early crowd on Friday, as too few opening sets seem able to do.

Now that’s memorable.