Jazz is one of the more difficult mediums to blend with the symphony orchestra. Straight-ahead jazz is largely improvisatory, full of open spaces for the momentary explosion of individual inspiration. This kind of jazz thrives in the smallest of ensembles, say 3 to 5 players, where the interplay is tight and consensual. Symphonic music, on the other hand, needs to be thoroughly orchestrated, and it thrives on large numbers, 70 to 100 players. And everyone is attuned to the direction of one leader with a baton.

In spite of these daunting disparities, jazz guitarist John Pizzarelli and his quartet fused admirably with the San Diego Symphony Sunday (July 19) evening at the Summer Pops venue Embarcadero Marina Park South. He selected numerous songs written by Richard Rodgers and some of the songs made famous by Nat "King" Cole as his starting point, and then elaborated and energized these pages of the Great American Songbook with suave assurance. His instrumental technique is fleet and inventive, as is his occasional scat singing, whereas his vocals are just adequate. He renders the text, but rarely probes it, and the term "definitive" never came to mind while he was spinning out those lyrics.

From the Richard Rodgers/Lorenz Hart canon Pizzarelli chose the more upbeat end of the spectrum, bouncy baubles such as "Mountain Greenery," "This Can't Be Love," and "Easy to Remember," songs that fit Pizzarelli's breezy patter and nonchalant attitude. And what would he do with, say, Larry Hart's questioning "It Never Entered My Mind" or "A Ship Without a Sail"? From Rodgers' later work with lyricist Oscar Hammerstein II, Pizzarelli chose "I Have Dreamed" (from "The King and I") and two "South Pacific" favorites, "Happy Talk" and "You've Got to be Carefully Taught." The latter tune was beautifully arranged with a slow counter-melody from Stephen Sondheim's "Into the Woods," played as a soulful cello solo by Symphony cellist Mary Oda Szanto. I think more depth and fewer flying fingers would have made for a richer program.

Speaking flying of fingers, Pizzarelli's pianist Larry Fuller proved formidable in part for his overall restraint and deft understatement. In "Falling in Love with Love," a quartet solo without the symphony, Fuller let loose with cascades of brilliant figures and runs, each note clear and sparkling. But for most of the evening, his commentary was terse but always illuminating. Similarly, bassist Martin Pizzarelli (yes, John's kid brother) crafted adroit linear foundations for the group's ample constructs, but he never preened. Drummer Tony Tedesco was allowed the obligatory (and to my ears painfully interchangeable) drum solo, but otherwise contributed unfailing tasteful rhythmic support.

For all of Pizzarelli's expressed admiration for Nat Cole, the Cole tribute medley sounded strangely tame, perhaps because it simply rounded up the usual suspects: "Mona Lisa," "Ramblin' Rose," "Nature Boy," and "Unforgettable." The challenge of that last song is that without Cole's burnished vocal quality, "Unforgettable" is all too forgettable. The Harold Arlen duo seemed also obligatory, "Over the Rainbow" (a few unexpected harmonies) and "That Old Black Magic" (not enough magic).

More winning was the quartet's interpretation of Joao Gilberto's haunting "Estate," with opalescent themes wafting from the orchestra's string sections.

PRESS HERE FOR PROGRAM & BIO