JAZZ AND DANCE REVIEWS : ALEXANDRIA’S UNCOMPROMISING STYLE

Lorez Alexandria knows where the best songs are and has always known the perfect way to treat them.

As was revealed during her visit to Donte’s Friday, she relies frequently (as in her albums) on Johnny Mercer; in fact, one of his titles, “Bittersweet,” best evokes the essence of her sound. That hip tone quality, the unforced vibrato, the lagalong-and-catchup phrasing (at one point she swallowed up “I’m Beginning to See the Light” in a single bar) are vintage Alexandria trademarks.

“Tangerine,” unconventionally delivered in waltz time, brought new luster to a somewhat dated ditty. “Namely You,” by Mercer and Gene De Paul, as always provided a splendid wedding of lyrics and music.

Only during a somewhat lugubrious “My Shining Hour” did this generally vital set lag a little. For the most part Alexandria came across as the instantly recognizable and uncompromisingly jazz-oriented performer she has always been.

As a bonus, the trio of pianist Gildo Mahones, with Clarence Johnston on drums and the phenomenal Andy Simpkins on bass, provided not only a propulsive backup but a short and engaging introductory set.

Mahones found a new way to go with his arrangement of “What’s New?”--partially in a doubled-up tempo and with vivid chording by the leader.

Regrettably, the pre-holiday lull limited the attendance; the club is now closed and will reopen Saturday with Poncho Sanchez.