Monheit swingingly shows her flip side

There was a striking difference between the Jane Monheit who showed up on stage at Pepperdine’s Smothers Theatre on Friday night and the Jane Monheit who is represented on her new CD, “In the Sun.” Anyone hearing her in concert for the first time would have had little difficulty identifying her as a jazz singer -- and a good one, at that. In contrast, anyone experiencing Monheit for the first time on the CD could easily be reluctant to use the label at all.

Part of the problem traces to Monheit’s talent, which is diverse enough to bring a certain chameleon-like quality to her work. At Pepperdine, she spiced her set with the addition of a sweetly pop-tinged reading of the Eric Kaz-Libby Titus ‘70s rock ballad “Love Has No Pride.”

Beyond that, the program -- in which she was accompanied by pianist Michael Kanan, saxophonist Joel Frahm, bassist Joe Martin and drummer Rick Montalbano -- soared comfortably within the jazz orbit. Even in “Over the Rainbow,” in a rendering that has become something of a trademark for Monheit, she stretched and remolded the line, reminiscent -- although in very different stylistic fashion -- of the melodic variation associated with Sarah Vaughan.

Other material was offered with more rhythmic lift, including “People Will Say We’re in Love,” “It Might as Well Be Spring” and “Cheek to Cheek.” In each case Monheit displayed her rapidly maturing ease with improvisational reshaping, aided immensely by her unerring sense of pitch and precise ear for harmony.

A generous helping of Antonio Carlos Jobim tunes -- “Chega de Saudade,” “Dindi” and “Aguas De Marco” -- was delivered with lightly floating rhythmic ease (although, strangely, she neglected to perform either of the two Ivan Lins tunes from her new album). And her tender version of the lovely Bernstein/Comden & Green ballad, “Some Other Time,” revealed yet another glowing facet of her artistic growth.

Monheit still relies a bit too heavily upon her powerful instrument, tending to hit the obvious climaxes, not yet at the point where she completely apprehends the value of dramatic understatement. But the talent and imagination to be a top-level jazz artist are available to her.

Whether she will use them toward that goal is the question. And the escalating pop orientation of her recordings suggests that her managers may have another direction in mind. To do so, however, they’ll have to put a lid on the sort of fine, briskly swinging performance she delivered.