Soprano Battle Settling Into Jazz With Confident Pizazz

Soprano Kathleen Battle’s jazz-oriented program, “So Many Stars,” appears to be establishing itself as a staple element in her repertoire. And, for that matter, in the repertoires of the jazz players involved in the unusual combination--Cyrus Chestnut, piano; James Carter, saxophones and woodwinds; and Steve Kirby, double bass.

The “So Many Stars” presentation at the Hollywood Bowl Wednesday night was essentially similar to a concert Battle performed at the Cerritos Center for the Performing Arts last year, showcasing her lush soprano in a framework of supportive jazz backing. Guitarist Romero Lubambo and percussionist Cyro Baptista were again added for a few numbers, and the primary personnel difference was the presence of Kirby in place of the original bassist, Christian McBride.

For the jazz players, of course, the repetition of familiar material was no problem, since much of their energy was channeled into the improvisations that flowed from that material. So the question about this performance was whether Battle would reach for a similar expressive freedom, stepping beyond her classical training into the spontaneity of the jazz arena.

To her credit, she did. Sounding confident and at ease with the material, which ranged from traditional spirituals to Duke Ellington songs and a sprinkling of Latin items, Battle gave a superb performance. Contrasting her rich middle range with her seemingly effortless, patented high notes, she also revealed an easygoing facility with gospel music-styled phrasing--the latter a growing, effective addition to her vocal technique.

Battle’s interaction with Carter (who, at various times, played tenor and soprano saxophones, bass clarinet and alto flute) was far more compatible than in last year’s concert. Although Carter’s enthusiasm still occasionally threatened to consume the entire stage, Battle was content to counter his ebullience with a serene musical composure that kept the proceedings in balance.

In their jazz showcase numbers--a romp through the traditional “Glory, Glory, Hallelujah” and a rocking version of Juan Tizol’s “Caravan”--Chestnut, Carter and Kirby were in fine fettle, despite Carter’s drive to convert “Caravan” into something resembling an agitated Jazz at the Philharmonic outing. Welcome contrast was provided by Chestnut’s lovely, laid-back rendering of “Jesus Loves Me,” and Baptista’s spirited demonstration of the African/Brazilian stringed instrument the berimbau.

But, appropriately, the real luminary in “So Many Stars” was Battle. Her musical intelligence and technical virtuosity were ever-present elements in this pleasant evening of music. A quick study and a fast musical learner, she clearly has the capacity to perform creatively in a wide array of musical settings.