A steady and dynamic rhythm section was the backdrop for all of the groups, with nimble-fingered Evan Plant on piano, rock-steady Patrick Lema on drums and various exceptional stand-up and electric bass players, including Dwight Struthers, Brett Cole and Alex Farmelo.

The jazz combos, directed by Tim Stephenson, headed up the show with “Boplicity,” which had harmonized scat singing over a vigorous pulse. This was followed by an unusual non-rocklike arrangement of Heart's “Barracuda,” with sweet and mellow vocals by Samantha Rodriguez.

Vocal Jazz II, also directed by Tim Stephenson, was a small collection of singers, diving in with the shoo-bah-doo-bah sounds of “We've Got the World That Swings.” This was followed by a swinging standard called “Corcovado,” with the easy-going vocals of Anna Smirnova and a bossa nova beat which momentarily took me away to the sandy shores of Jobim's Rio de Janeiro. Another standard, “That Old Black Magic,” had an alluring blend of fluid vocals and dependable rhythm.

The Sierra College Jazz Singers, directed by Gaw Vang, lined the stage with their black-on-black attire, rendering a splendidly harmonized jazzy rendition of Adele's “Rolling in the Deep.” In a crazy arrangement of Cole Porter's standard “What is This Thing Called Love?” the group scatted artfully as vocalist Mitch Wersky made impressive bass and drum sounds pop right out of his mouth. Another tune arranged by the prolific Kerry Marsh was the unconventional “Ready, Aim, Fire,” with praiseworthy pop solos from Bailey Walatka.

I was pleased to see a variety of ages and genders playing with the Sierra College Jazz Ensemble, who hit the stage running with Phil Kelly's “Play Tonic Budz,” a big, brassy burst of sound which reminded me of the original Tonight Show band. Saxophonist Weston Spivey provided spirited solos for this piece and several others. “Scott's Place” had a kind of cocktail lounge aura, with muted trumpets and the ever-dependable rhythm section. Conductor Greg McLaughlin, who often sat in on piano, aptly described “Note-o-Rioty” as “dense, prickly and coarse,” and without a hummable melody. “Mira, Mira” had a very danceable salsa beat underneath a wide variety of brass, bass and drum solos. McLaughlin closed out the night with humor and a very funky “There's the Rub,” with “barbeque” guitarist Tyler Wood.

This was indeed a gratifying and sophisticated kind of evening with some very enterprising and talented jazz musicians from the remarkable music department at Sierra College.