JAZZ REVIEW : Wilson Emerges With a Voice for the ‘90s

The only problem with Cassandra Wilson’s Los Angeles debut at the Troubadour on Thursday was that it ended too soon. In her brief, one-night-only performance, the eclectically talented singer made it clear that she is one of the important emerging jazz voices of the ‘90s.

Although she has been on the scene for a few years, touching styles ranging from pop and folk to rhythm & blues, Wilson’s current album, “Blue Light ‘Til Dawn,” showcases a dramatically focused new music style. Much of the repertoire for her Troubadour set was drawn from the recording, and she sang it with the joyous elan of an artist who has been reborn.

Among the high points: a revealing look at Van Morrison’s “Tupelo Honey,” a seductive rendering of Robert Johnson’s blues classic “Come On in My Kitchen,” penetrating readings of Joni Mitchell’s “Black Crow” and Ann Peebles’ “I Can’t Stand the Rain” and--especially--an exquisite interpretation of her own song “Redbone.”

Wilson was aided immeasurably by five brilliant musicians who functioned in equal creative partnership--pushing and pulling, teasing and demanding, constantly finding unexpected ways to interact with Wilson’s vocals.

Guitarist Brandon Ross produced most of the spare, but precise arrangements that were at the heart of the music, and violinist-mandolinist Charlie Burnham, bassist Lonnie Plaxico, drummer Lance Carter and percussionist Jeff Haynes added nonpareil solo and ensemble work.