Joe Jackson Offers a Classical Bit of ‘Heaven’

A mid-concert music theory lecture from Joe Jackson doesn’t sound like fun, given his reputation for occasional surliness and condescension. But stopping Sunday at the El Rey Theatre for an analysis of the sublime simplicity of “Danny Boy,” the English singer-composer proved charming and informative.

The irony was that in the featured performance of his new song cycle “Heaven & Hell,” the classically trained Jackson failed to heed that less-is-more lesson--and yet succeeded with an at-times remarkable achievement. Ambitious and complex in its depiction of the seven deadly sins, “Heaven & Hell” realizes a true pop-classical synthesis, in places echoing composers ranging from Brahms and Prokofiev to Laurie Anderson, but always distinctively original.

In the first of two nights here, Jackson re-created the “Heaven & Hell” album colorfully with just violinist-keyboardist Valerie Vagoda and keyboardist Elise Morris (plus digital orchestrations) taking over for the album cast of acclaimed classical soprano Dawn Upshaw, violinist Nadia Salerno-Sonnenberg and various pop singers. Vagoda and Morris are also terrific vocalists, with the former earning cheers by re-creating Upshaw’s soaring lines.

Jackson started the evening with selections of his pop catalog that revealed tenderness and grace. But it was the new work that stood out--not just here, but against most classical forays by pop artists. Roll over, Electric Light Orchestra, and tell Paul McCartney the news.