JAZZ REVIEW : Alexandria Knows the Way to Phrase It

One of singer Lorez Alexandria’s first albums was simply dubbed “The Great.” And that immodest title wasn’t far off as Alexandria showcased clear, accurate tones, an instrumentalist’s sense of rhythm and a taste for music and musicians equal to any singers of the day.

Almost 30 years later, the title still applies to Alexandria’s work. During her first set Sunday at Maxwell’s by the Sea, she impressed a small audience with intimate readings of standards and a few lesser-known numbers, all imprinted with her trademark styling.

Although some of the purer characteristics of her voice have disappeared over time, she continues to work the kind of rhythmic phrasing one expects from a saxophonist or trumpeter while emphasizing a lyric’s meaning with dynamic sweeps and emphatic line repetitions.

Backed by the sterling rhythm section of pianist Gildo Mahones, bassist Andy Simpkins and drummer Clarence Johnston, the singer opened with “Where Have You Been?”--her velvety textures and smoky inflections adding depth to the troubled lover’s musical question. She added tension to the lyric by stretching phrases to the breaking point or compressing them in an anxious rush, tactics that served to emphasize the tune’s rhythmic framework.

But Alexandria never let her stylistic touches get in the way of conveying a song’s message. The breathy quality of her voice added depth to a bossa-nova paced “Too Good,” while lyric variations on an up-tempo “I’ve Never Been In Love Before” almost made you believe the title’s message. The brief scat passages she added were more rhythmic illumination than showy ornamentation.

Her best work came on Eden Ahbez’ “Nature Boy.” With Mahones laying out, she sang what almost seemed a duet with bassist Simpkins, who played off her rhythmic variations. Alexandria also expanded on the tune’s lyric with improvised lines over an extended close that served to underscore the song’s “love and be loved in return” object lesson.

The singer had a few problems to overcome, namely, a rattling microphone and excessive, sometimes harsh amplification of her voice. But Alexandria turned the set into a showcase for her phrasing talents, proving herself an engaging storyteller while employing enough stylistic tricks, including a vibrato that sometimes seemed as wide as the San Gabriel Valley, to keep the proceedings from the run-of-the-mill.

The rhythm section players established their own credentials in a pair of numbers before the singer took the stage. An arrangement of “Autumn Leaves,” with sharp breaks between the tune’s phrases, turned into an infectiously swinging affair led by Mahones’ rich chording and detailed improvisation. Simpkins soloed with melodic beauty and the sort of pacing a singer might employ.

The bassist, an experienced accompanist who worked 10 years for Sarah Vaughan, displayed an ability to track time as well as work off Alexandria’s rhythmic sense.