JVC at Bowl Skirts the Traditional

Maybe the JVC Jazz at the Hollywood Bowl program Sunday night should have been called Almost Jazz. Or Jazz Lite. Because the nearly five-hour program--which showcased the Jazz Crusaders, Keiko Matsui, Etta James & the Roots Band and Grover Washington Jr.--had a lot more to do with pop, fusion, funk and blues than it did with straight-ahead jazz.

Of course, one can also take a broader perspective, and consider that one of the great strengths of jazz is its capacity to absorb other musical forms without losing its own essential identity. And the JVC Bowl concert, despite its long stretches of repetitious rhythm vamps and uninspired soloing, still managed to maintain a thin, fine line of connection with that essential identity. Call it Near Jazz.

The Crusaders, who now consist of saxophonist Wilton Felder, trombonist Wayne Henderson and an excellent rhythm section, have the same problem that aging rock entertainers often experience--the need to find new ways to function within a style that was popular decades ago. But, although the signature Crusaders sound occasionally broke through, the real attraction of the band’s set was the first-rate playing of the horn players, supplemented with some stirring blues singing by guest artist Barbara Morrison.

Pianist Matsui’s music was, as always, pleasant and unobtrusive. Lacking any particular creative substance, it appeals for its undemanding melodies, easy rhythms and, perhaps above all, the visual novelty of the petite Matsui’s gutsy, upfront performance with a shoulder-slung keyboard instrument.

James’ presence on the program continued the odd association she has had with jazz since her “Mystery Lady” won a Grammy Award for best jazz vocal performance in 1994. At best, the relationship has been somewhat tenuous. James invested a small measure of jazz rhythms and phrasing into a too-long rendering of “You’ve Changed,” but she hit her stride with a soulful interpretation of her now-classic (as the result of its inclusion in a Jaguar TV commercial) “At Last” and a couple of blues-based numbers.

In the star position, Washington devoted most of his time to medleys of his hits, tossing in a piece or two from an upcoming recording. A relaxed, engaging performer, Washington communicated well with his enthusiastic audience of just under 12,000, both with his various saxophones and with his easygoing, between-songs conversation. Although he has demonstrated, in a variety of settings, his impressive range of skills, this time out Washington was strictly into his commercial persona, and his music never reached beyond the slick, polished crossover sounds that have helped define pop jazz for more than two decades.