JAZZ REVIEW : Tania Maria Runs Hot and Cool

Brazilian vocalist-keyboardist Tania Maria’s singing has been variously described by critics in such incendiary terms as “explosive” or “fiery.” But Maria’s appearance Thursday at the Coach House went easy on the fireworks. Instead, she put the emphasis on a variety of Latin-based grooves--samba, bossa, choro --while working in a relaxed, understated manner.

Not that this is a new direction for Maria. Her latest album, “Bela Vista” (her 1990 World Pacific recording), worked the same, less-frantic approach to great advantage. It’s just that some of us still think of her on the dynamic roller-coaster she used to ride when she recorded for the Concord/Picante label.

Her version of the Rolling Stones’ “Satisfaction” reflected this more collected demeanor. Done at a swaying, mid-tempo pace, the singer underscored the frustration in the tune’s lyric by inserting a detached boredom to her voice, paced by the insistent two-beat rhythm. Her wordless exchange with guitarist Mitch Stein at the beginning of the tune and the unison vocal she floated over her own keyboard solo (shades of George Benson!) brought depth to the otherwise aloof presentation.

This doesn’t mean that Maria’s performance was without its emotional high points. It didn’t take her long to get off the piano bench during the set’s opening number, “Grenada” (pulled from a forthcoming album), to ignite a series of vocal percussive figures filled with hoots, growls and rhythmic hiccups. About halfway through, the set gradually became more dynamic, each tune upping the intensity ante. That she works without a playlist, doing numbers as they came to mind, made this gradual climb to climax even more impressive.

Maria worked a rather limited range, reaching into the upper registers only for clipped percussive accents. Her often conversational delivery was especially effective during “I Can Do It,” as she encouraged the audience to pick up the chorus while she added well-placed fills and comment. Her piano playing--she alternated between an acoustic-sounding electric grand and synthesizer--never really stood out, but instead melded into the rhythm section’s time-keeping duties.

Anchored by drummer Ricky Sebastian and percussionist Cassio Duarte, Maria’s band worked tight corners with aplomb while riding various rhythmic currents as easily as a flat boat on a wide river. Bassist Sergio Brandau used a double-necked electric instrument, pulling funky resonance from the bottom strings and higher-pitched melodiousness from the top. Guitarist Stein worked the tonal qualities and some of the style of modern innovators John Scofield and Mike Stern, which gave the Latin tempos an urban edge. As a unit, the band displayed its mettle hitting the unpredictable breaks in another new tune, “Bon Bon Tchi.”

The closing number, “Sangria,” found the singer at her most excitable, spurred by a frantic percussive introduction from Sebastian and Duarte. Here, she employed the vocal swoops and wordless scat that garnered her spark-plug reputation. But it was her overall reserve that made this show succeed.

Opening trio Sound Minds had a larger sound than its bass-drums-alto saxophone configuration suggests, due to a heavy reliance on programmed keyboard and percussion passages. The threesome’s funk instrumentals relied heavily on drummer Clayton Simmons’ ability to spice up a groove, while saxophonist Eddie Taylor Bryant suspended short phrases and trills over the decidedly unambitious framework. Although there was little substance to the eight originals the group played, their sense of orchestration and an apparent enthusiasm for what they are doing suggest they are headed in the right direction.