Seeking a jazz-gospel connection

The 2003 Jazz at the Hollywood Bowl series continued its odd seasonal start-up Wednesday night with “Rejoice and Swing,” a gospel-music-oriented program featuring the Eric Reed Trio, vocal group Take 6 and Grammy-winning gospel singer Yolanda Adams. Following last week’s blues night and a Joao Gilberto bossa nova program coming up next week, it’s hard not to wonder why it is taking so long to get down to the business of jazz.

Nominally, saxophonist Reed was the performer in “Rejoice and Swing” most identified with the jazz mainstream. Although he played only two numbers, his characteristic high-caliber virtuosity kicked off quickly, darting out notes in all directions. And Reed’s tour through John Coltrane’s “A Love Supreme” tried -- appropriately, if not always successfully -- to tap into the piece’s inherent spirituality.

Interestingly, Take 6 made the strongest connection with both the improvisational and rhythmic aspects of jazz. Singing a set of numbers ranging from the traditional “Wade in the Water” to Bill Withers’ “Grandma’s Hands,” the six-man a cappella group, augmented occasionally by piano or guitar, was marvelous in every way. Their harmonies, filled with inner moving lines and colorful dissonances, their driving rhythms energized by popping vocal percussive sounds, all simmered with the feel of jazz, further enhanced by the spirited enthusiasm of their delivery.

Adams’ set was more perplexing. Despite the dozens of awards the gospel diva has received, there was little -- aside from the lyrics of her songs -- to distinguish her presentation from that of a straight-ahead soul and R&B; program.

She sang with soaring passion and her devotion to her spirituality was fully convincing, but her connection with jazz was virtually nil.