MARLENA SHAW GOES THE FUNNY WAY WITH A SONG

Marlena Shaw hit the ground jumping at the Vine St. Bar & Grill on Thursday evening. Her opening song, a vintage Billie Holiday item called “What a Little Moonlight Can Do,” accentuated her strong roots in jazz. Her distinctive timbre, with an occasional hint of Carmen McRae, was in evidence again during a verse-and-chorus treatment of “If You Could See Me Now.”

Shaw’s repertoire is wide ranging; on this occasion she leaned more than usual on standards, among them an up-tempo waltz, “Too Long at the Fair,” and the durable ballad “At Last.” It was here that her greatest strength was on display, along with her perennial hang-up.

The problem is Shaw’s sense of humor. Here is a woman of exceptional beauty, blessed with a no less exceptional voice, who seems unable to decide whether she is a comedian who sings, or simply a singer who now and then tosses in a humorous aside. Even in a great tune song like “At Last” she was not content to play it straight from top to bottom; by the second chorus she had wandered off into a rap about the height and other attributes of the man she wanted.

Pearl Bailey established this route long ago with enormous success. If that is where Marlena Shaw wishes to go, so be it; but she ought to be respected as a fine vocal artist and deserves to break into the international jazz festival circuit that seems to elude her. The reason is clear: She will not be taken seriously as long as she is unable, or unwilling, to take herself seriously.

Her entertaining, well-received set was capably backed by a trio that played a couple of brief, propulsive warm-up numbers: Llewellyn Matthews, piano; Leroy Ball, bass, and Paul Humphrey, drums. They and she will close tonight.