JAZZ REVIEW : Vinnegar Welcomes Friends in Indigo Return

A number of musicians--some of whom he invited to share the bandstand--turned out for Leroy Vinnegar’s homecoming Thursday night at Indigo Jazz Club in Compton.

The three-night engagement marked the nimble-fingered bassist’s first Los Angeles appearance since he moved to Portland, Ore., more than two years ago. Before his move, Vinnegar had been a center post of support in the Los Angeles jazz scene for more than three decades.

During the second and brief third set, the tall, broad man with a shock of graying hair--whose instrument seemed almost diminutive against his girth--played a brace of mainstream tunes that was highlighted by “Melody for Thelma,� an enchanting, sinuous Blue Mitchell bossa nova. Here, pianist Bill Henderson swayed between slowly stated ideas that were filled with space and dashing note-dense structures that were delivered with disarming ease.

On “Polka Dots and Moonbeams,� where Henderson also offered a throaty soprano sax improvisation, and a Sam Jones blues, “The Chant,� Vinnegar displayed his sweet, supple sound, which was a balancing point between Henderson and lithe drummer Tootie Heath and his as-ever rock-solid time. “The Chant� found the bassist soloing with fluid “walking� lines, as has long been his fashion, while on “Thelma� he opted for more horn-like stance to tell his story.

Later, he invited singer David Whitfield up to the bandstand. Whitfield all but buried “My Funny Valentine� in vocal and physical histrionics. In the third set, saxman Teddy Edwards and pianist Dwight Dickerson cruised through “Four� and “Bag’s Groove� with efficient musicianship, Edwards soloing with his inherent bluesiness and Dickerson adding a spark with his jaunty rhythms and neatly turned melodies.

Vinnegar, with Edwards, Henderson and Heath in tow, closes tonight.