JAZZ REVIEWS : The Less She Strained, the Moore She Pleased

There’s an element of excitement in live performances that most often is missing from studio recordings. But when singer Shelley Moore played Spaghettini on Sunday to celebrate the release of her new Cexton CD “Moore Moods,” the tables were turned for a while.

The excitement of appearing in front of a packed house proved a little much for the usually confident vocalist. Moore started out trying a bit too hard, pushing her scat embellishments and stylistic tricks in a way that sounded forced and less than genuine.

Her first two numbers were marred by what seemed an overwhelming desire to please, and one couldn’t help but think that the singer from Westminster was going to let her jitters get the best of her.

But then she turned to the steadfast ballad “That Old Feeling,” and suddenly things changed. Coming straight at the lyric and forgetting about gimmickry, she told a convincing story in warm, relaxed tones, leaving the asides and musical comments to saxophonist Benn Clatworthy. The emotion in her voice became convincing, and it wouldn’t be out of place to say she developed that old feeling her fans have come to love.

Though she slipped back occasionally into self-consciousness, notably during an upbeat “The Song Is You,” she finished the set in strong fashion, weaving a spell with her voice while letting the words speak for themselves. “Black Coffee,” a bluesy tale of heartbreak and caffeine, was delivered in somber, sugar-free tones. “I Want to Be Happy,” a tune she recorded in 1961 with tenor saxophonist Eddie Harris, scooted along on an upbeat, with Moore sometimes laying back teasingly.

Even while she was struggling to find her identity in the opening numbers, flashes of her skills were there to be heard. Her introduction to “Summertime,” supported poetically by pianist Cecilia Coleman, was especially moving. Only after the rest of the supporting quintet swung into action did Moore let the gravity of the performance get the best of her.

Not that there was reason for her to fret. The musicians--Coleman, saxophonist Clatworthy, trumpeter Steve Huffsteter, bassist Richard Simon and drummer Nick Martinis--are stalwarts and, despite occasional organizational problems, delivered well for her. Coleman, a frequent partner of Moore’s, was especially adept at echoing her moods or coaxing her back to the straight and narrow.

The group soared through its numbers without the singer, with Coleman taking a more aggressive stance while Simon pushed and pulled at the tempo. The horns made for nice contrast: Clatworthy’s tenor cut into the spine of a tune, and Huffsteter’s trumpet found its beauty. Indeed, Huffsteter’s minimal involvement in numbers with Moore probably was the show’s most disappointing aspect.

The new album also can boast strong instrumental support; all but drummer Martinis took part in the sessions. “Moore Moods” makes a more consistent statement than Sunday night’s performance. But we can forgive someone a brief case of nerves at her own party, can’t we?