WEEKEND REVIEW : JAZZ : Performers Offer Stylistic Salute to Nancy Wilson

A Salute to Nancy Wilson, held Friday at the Century Plaza hotel, honored the jazz-pop vocalist in the best possible way as a parade of fine singers displayed the song stylist’s influence on their own styles while interpreting the material Wilson made famous over the years.

The concert, a benefit for the Minority AIDS Project co-hosted by Bill Cosby and Quincy Jones (who were not in attendance) with performances from vocalist Joe Williams, the Frank Capp Juggernaut, trumpeter Harry (Sweets) Edison and pianists Herbie Hancock and George Duke, was not so much a retrospective of Wilson’s career as it was an homage to her skills as an interpreter of lyrics.

The most rewarding appearances here, including songs from Yolanda Adams, Carmen Bradford, Marilyn Scott and Barbara Morrison, were notable for their sense of drama and storytelling, as well as their inventive phrasing and attractive tone, all qualities for which Wilson is treasured.

The evening’s highlight came as Bradford sang Wilson’s signature number, “Guess Who I Saw Today?” Bradford’s dramatic reading of the song, an emotionally-charged tale of romantic deceit, resembled Wilson’s original take with its soaring revelations and occasional whispered lines. Vocalist Morrison, working a medley of tunes Wilson has covered, looked to Wilson’s jazz side as she glided rhythmically through “Never Will I Marry” and Wilson’s 1964 hit “How Glad I Am” in tones that occasionally recalled Wilson’s own.

Gospel-influenced vocalist Adams, though least resembling Wilson in style, provided the most dynamic moments in her passionate reading of “What About the Children?” Subtlety, a Wilson trademark, was cast aside as Adams sang with strength and plenty of embellishment. Later, when called back to the stage by the honoree, Adams coaxed Wilson, who did not otherwise perform, to join her briefly on the stirring devotional number “Even Me.”

While the show concentrated on singing, it also offered rare acoustic performances from two keyboardists who are best known for their electric work. Backed by drummer Capp and bassist Jim Hughart, Hancock gave a relatively straight reading of “Girl Talk” that exhibited few of the characteristic trademarks--rhythmic trills, tumbling, descending lines--that have marked his play over the years. Hancock stuck around to accompany Freda Payne’s interpretation of Billy Strayhorn’s “Lush Life,” which the singer delivered in a surprisingly straight, non-dramatic style.

Keyboardist George Duke, known best for his decorative, relentlessly funky electric play, presented a smoothly polished, acoustic rendition of “The Old Country” that was notable for its involved harmonics and skipping right hand lines. The evening’s other standout pianist, the Juggernaut’s Terry Trotter, showed an inventive sense of utility as he accompanied singers Bradford, Scott, Williams and O.C. Smith.

Williams’ upbeat rendition of “Please Don’t Talk About Me When I’m Gone” was full of the vocalist’s usual enthusiasm and rhythmic persuasion (though he was more reserved when leading the crowd in singing “Happy Birthday” to former Mayor Tom Bradley, who was in the audience). Singer Smith (“Little Green Apples”) made a decided contrast to Williams’ good-times feel when he sang a warm, relaxed version of “On a Clear Day.”