Latin Grammy Nominee Celia Cruz at Her High-Spirited Best

There was very little jazz and plenty of mambo, salsa and guaguanco at the Hollywood Bowl during Wednesday’s “Latin Jazz Spectacular,” a deceptively named show that nevertheless allowed the audience an opportunity to experience veteran Cuban singer Celia Cruz at her very best.

Perhaps because her latest album, “La Negra Tiene Tumbao,” has just received four Latin Grammy nominations, the singer was particularly high-spirited, delivering her most dynamic local performance in years.

Cruz’s harshest critics believe that the diva, whose vocals lack the power of her glory days with the orchestra Sonora Matancera, should consider retiring from the stage.

That would be a mistake. Cruz’s occasional off-key moments can be easily forgiven, especially if you consider her passionate reinterpretations of musty old favorites and the seductive grit of her weathered voice.

To her credit, she has amassed a catalog of new hits, such as “La Vida Es Un Carnaval” and “Que Le Den Candela.”

Yari More’s backing orchestra was tight and inspired, changing styles from the soulful guarachas of La Sonora Matancera (“El Yerbero Moderno”) to the streetwise vibe of Cruz’ Fania years (“Quimbara”) and the hip-hop-informed production of her latest release (“La Negra Tiene Tumbao’s”s title track).

Founded by the sons of bandleaders Machito and Tito Rodriguez, the Big 3 Palladium Orchestra opened the concert with its effort to recapture the mambo days of the ‘50s, when the ensembles of the leaders’ fathers and Tito Puente took turns performing at New York’s legendary Palladium.

But lovingly playing the old charts is not enough to re-create Machito’s exuberant stage persona or Puente’s visionary musical direction. The notes were all there on Wednesday, but the vibrant spirit of the old mambo was sorely missing.