A rare, joyful evening with Esperanza Spalding

Great expectations buzzed in the high-ceiling hall of Sky Church at Experience Music Project Friday, for bassist/singer Esperanza Spalding's highly anticipated Seattle debut as a leader.

Spalding not only met expectations, she surpassed them.

The sold-out concert was part of EMP's Jazz in January celebration.

Spalding is obviously star material of the first order, the kind of performer whose passionate, uninhibited absorption in what she's doing ineluctably lures you into her world.

Cute and petite, black hair pushed in a mound behind a wide white headband, the 23-year-old, Portland-bred musician sang more songs with lyrics than on her debut album, which emphasized scat-singing and bass playing. Sometimes, she squinched her face and the left side of her mouth turned up, as she dug into the music.

Even when she was singing song with words, Spalding was a jazz musician all the way, her vocal style rapid and zigzag, like a vocalese solo, her quick-fingered bass lines running up and down the song like a spine.

Spalding launched with Brazilian singer Gal Costa's lively "Modinha Para Gabriela," sung in Portuguese.

"I love that song because of the way it relates to my personal life," she explained, in one of many chatty interludes. "It says, 'I'm Gabriela and I was born this way and I'm staying this way — so deal with it.' "

Spalding's charmingly defiant independence delighted the young crowd of 200 people, which held few familiar faces from the usual Seattle jazz audience.

The youthful feel continued with the bassist's original, "She Got To You," a song about losing a lover. But Spalding really sparkled on the mature Nina Simone classic, "Wild is the Wind." After pleading "Love me, love me, love me," she rose to a huge, emotional climax on a high, soprano wail. Wow. The crowd went nuts.

Spalding voyaged back to Brazil with a gorgeous rendition of the Dorival Caymmi ballad, "O Bem Do Mar," introducing the song with a melodic and sinewy bass solo.

Spalding said she doesn't travel with her own bass anymore because Homeland Security makes it such a hassle. She had an ongoing conversation with the instrument provided for her, which she good-naturedly nicknamed "Wiry."

Indeed, her bass sound was not particularly warm, though she interacted almost telepathically with her trio, which featured the smart and speedy pianist Leo Genovese and the sensitive Otis Brown, whose versatile technique brought to mind Brian Blade.

As entrancing as she was, Spalding could work on some details. Her rhythmically clever version of "Body and Soul," done in 5/4 time, needs to come down a key or two to suit her range. She could work on her diction, too. Though obviously singing and playing the bass at the same time is very difficult, it was almost impossible to understand the lyrics of her tune, "Sunlight."

If she's really serious about writing a hit song — "to buy a house for my mother," she said — she's going to have to write better hooks than the ones in "Precious."

Spalding closed her set with a dazzling scat, giving Brown room for smart Latin inventions, then drew the (quite willing) crowd into a singalong. For an encore, she and Genovese offered a short duet.

This was a rare and memorable evening. It's certain we will hear more from this remarkable young woman, who flooded the room with youthful, unbridled joy.

Former Santana drummer Michael Shrieve opened the show with an enjoyable set by his band Spellbinder, a jamming outfit with superb musicianship all around and a throbbing Santana vibe.

Paul de Barros: 206-464-3247 or pdebarros@seattletimes.com