Engaging Contrasts at the Bowl

There are as many different ways to approach jazz singing as there are jazz singers. The arc between, say, Louis Armstrong and Sarah Vaughan covers a great deal of creative territory, yet each is a vital element in the colorful tapestry of the music.

On Wednesday night, “After Hours,” a Lexus Jazz at the Hollywood Bowl concert, showcased two unique musical talents: Shirley Horn and Dianne Reeves. Separated by more than two decades in age, they were equally distinct in their approach to vocalizing.

After an opening number by the Henry Mancini Institute Orchestra, conducted by John Clayton, Horn arrived with her trio to perform a somewhat brief set of tunes, including several with orchestral accompaniment.

The material was primarily dedicated to songs Horn has been doing for years--numbers such as “You’re My Thrill,” “Here’s to Life” and “How Am I to Know?”--in some cases enhanced by the subtle but supportive orchestrations of Johnny Mandel.

Horn’s interpretive approach is founded upon a stunning ability to place her brief, semi-spoken vocal phrases within a seductive flow of rhythmic timing. Often delaying her phrases for maximum effect, allowing the beat to arrive in a kind of flexible surge rather than a propulsive forward drive, she used the technique to blend jazz phrasing with mesmerizing storytelling.

There are times when Horn’s style can seem too carefully manipulative, but on this occasion she was superb. Her rendering of “Here’s to Life”--one of her classics--again found the inner heart beyond the song’s superficial sentimentality.

Reeves, on the other hand, is a more vocally oriented performer. Blessed with extraordinary natural gifts, she ranges easily over several octaves and can produce timbral coloration with the ease of an instrumentalist. She is, in addition, an amiable entertainer who uses vocalese improvisations to engage the audience and introduce her supporting players.

Reeves’ set was dedicated to material from her latest album, “The Calling: Celebrating Sarah Vaughan,” with the HMI Orchestra performing the lush arrangements of Billy Childs (who was also present as Reeves’ pianist). To her credit, Reeves maintained a strong sense of personal identity in tunes strongly identified with Vaughan--”Send in the Clowns,” “Lullaby of Birdland,” etc. Interacting comfortably with Childs’ strong orchestral sounds, she once again displayed the virtuosity that places her among the top echelon of performers in her field.

Combined with Horn’s very different but equally compelling style, it made for an evening affirming the far-ranging joys of the jazz vocal art.