POP MUSIC REVIEW : Secret of Don Dixon Gets Out at China Club

In a less senseless alternate universe, the kids on the street would already be whistling Dixon--Don Dixon, that is, the masterfully tuneful singer-songwriter-producer whose blazing appearance at the China Club in Hollywood made you wonder just how long he can be kept hidden from the masses. Ah, well: If the secret finally got out on the similar John Hiatt (whose “Love Gets Strange” was included in the set), it’ll get out on Dixon eventually too.

The third time may or may not be the charm, but in any case the bulk of Monday’s material came from Dixon’s third terrific solo album, “EEE” (due out later this week). As always, Dixon has the skill to construct immaculate bridges, hooks, rhyme schemes, et al., and the passion to make all that care seem effortlessly irrelevant. Additionally, this album takes his usual formulas--reference points would be the catchy, compassionate literacy of Elvis Costello, lightened by a dollop of Nick Lowe’s pun gent pure pop for now people--and adds an irresistible wrinkle: horns, horns, horns.

Accordingly, Dixon has picked up a sharp three-piece horn section to play with him live, adding parts that range from standard-issue R&B; punctuation to some “Peter Gunn”-style sliding and riffing to some out-and-out jazz improv. And for the first time on tour, he has an entire backup band that’s up to the fiery challenge of besting the recorded work, with a special nod to conga-flogging percussionist Jim Brock.

Also among that band is his wife, Marti Jones, who sang a melting lead on two of her own songs. Her sparkling, spouse-ly presence may make fans wonder how Dixon can continue to write so many songs from the viewpoint, as he noted, of “the Gig Young character in a Doris Day-Rock Hudson movie--the guy who never gets the girl.” Here’s rooting for Gig to get the audience, if not the gal.