America’s premiere musical fabulist, Randy Newman has maintained a remarkable balance of trenchant vignettes, exaggerated outrage and, especially in his film work, earnest sentiment. His latest album, “Harps and Angels,” employs sardonic wit and self-deprecation on a level worthy of Mark Twain. And Newman’s wry classics—“Political Science,” “I Love L.A.”—have only grown in relevance with time. But Newman shines most brightly in his rare concert appearances, where his mischievous presence complements his musical and storytelling talents.

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