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The Jazz at Lincoln Center Orchestra showcased a perfect blend of awe-inspiring orchestral jazz and the intimacy of a nightclub. A magnificent fanfare of trumpets harmonized with the lush sound of reeds, setting the stage for an enchanting exchange of melodies over a bouncy walking-bass swing. With the ensemble’s foundation solidified, Wynton Marsalis emerged from the trumpet section, mesmerizing the audience with his intense and improvisational performance, accompanied only by the rhythm section.
Marsalis, known for his exceptional technical prowess, seamlessly blends classic jazz references with a modern modal jazz palette. As his solo unfolded, he skillfully incorporated the growls, slurs, and boldness reminiscent of jazz’s early years into a stream of contemporary lines, captivating the audience. However, Marsalis is not the sole shining star of the orchestra. Dan Nimmer on piano followed, adding offbeat stabs and soulful interjections, while Elliot Mason on trombone showcased his brooding, sharp-edged style with technical brilliance. Trumpeter Marcus Printup then delighted with a poised ballad, displaying his lyrical finesse and control.
This disciplined jazz orchestra comprises fifteen exceptional musicians, each capable of infusing a twist of innovation into a century of jazz history through their remarkable performances and original compositions. Unannounced and awe-inspiring, the first two numbers were part of the three-part “Offertory” from Marsalis’s monumental work, Abyssinian Mass, which commemorates the 200th anniversary of Harlem’s Abyssinian Baptist Church. The final part, “(You Gotta Watch) The Holy Ghost,” concluded the first set with a compelling blend of gospel piano riffs, orchestrated saxophone squeaks, and the rhythmic support of drummer Obed Calvaire’s tambourine and bass drum.
During the forward-looking first set, trombonist Chris Crenshaw’s “Conglomerate” from his album The Fifties: A Prism paid homage to the cool school voicings, featuring a piano-less quartet with baritone sax and trumpet duetting. Wayne Shorter’s ethereal composition, “The Three Marias,” took on an orchestral shape, accompanied by haunting sustain from Chris Lewis’s soprano saxophone. Printup’s “Great Love (For Joe)” served as a touching dedication to the late baritone saxophonist Joe Temperley. Paul Nedzela’s bewitching upper-register control, warm-hearted balladry, and final unaccompanied flourish on baritone saxophone left a lasting impression.
The second half of the performance showcased the orchestra’s deep understanding of jazz history and mastery of Duke Ellington’s sonic palette. “Trombonio Bustoso Issimo,” a comprehensive showcase for Mason’s fluent trombone, was followed by “Big Fat Alice’s Blues,” highlighting Sherman Irby’s melodious alto saxophone. Irby effortlessly transitioned from Ellington-inspired melodies to modernism, captivating the crowd. Later, Alexa Tarantino delivered an equally mesmerizing performance on clarinet with one of four excerpts from Ellington’s Toot Suite.
The influence of modal jazz was demonstrated through McCoy Tyner’s “The Man from Tanganyika,” while an impromptu jam paid tribute to Jelly Roll Morton. The grand finale was a roaring blues performance. As an encore, Marsalis and the rhythm section took the stage alone, seamlessly transitioning from Morton’s “Dead Man’s Blues” to the modern jazz balladry of “Embraceable You.” The evening concluded with Eddie Durham’s arrangement of Rodgers and Hart’s “Blue Room,” brought to life by the remarkable reeds and brass of this exceptional band.
★★★★☆
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