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Wynton Marsalis and His Jazz at Lincoln Center Orchestra Present "Duke, Dizzy, Trane, & Mingus: Jazz Titans" at Rose Hall
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Wynton Marsalis and His Jazz at Lincoln Center Orchestra Present "Duke, Dizzy, Trane, & Mingus: Jazz Titans" at Rose Hall

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Jazz at Lincoln Center


Duke, Dizzy, Trane, & Mingus: Jazz Titans

The Jazz at Lincoln Center Orchestra
Wynton Marsalis, Managing and Artistic Director
Greg Scholl, Executive Director

Frederick P. Rose Hall
Rose Theater
Home of Jazz at Lincoln Center

Wynton Marsalis, Music Director, Trumpet
Ryan Kisor, Trumpet
Kenny Rampton, Trumpet
Marcus Printup, Trumpet
Vincent Gardner, Trombone
Chris Crenshaw, Trombone
Elliot Mason, Trombone
Sherman Irby, Alto Saxophones, Flute, Clarinet
Ted Nash, Alto Saxophones, Flute, Piccolo, Clarinet
Victor Goines, Tenor Saxophone, Flute, Clarinet
Walter Blanding, Tenor Saxophones, Flute, Clarinet
Paul Nedzela, Baritone Saxophone, Flute, Clarinet
Dan Nimmer, Piano
Carlos Henriquez, Bass
Ali Jackson, Drums

Joe Temperly, Baritone Sax
Bobby Allende, Congas
Karl Kohut, Bass

Zooey T. Jones, Director, Public Relations

Dr. Roberta E. Zlokower
January 30, 2015

Program (Final set notes assisted by Ted Nash):
“Dizzy Moods” by Charles Mingus, from Mexican Moods.
“Oclupaca” by Duke Ellington, from Latin American Suite.
“Tijuana Gift Shop” by Charles Mingus, from Mexican Moods.
“Island Virgin” by Duke Ellington & Billy Strayhorn.
“Los Mariachis” by Charles Mingus, from Mexican Moods.
“Flaming Sword” by Duke Ellington.
“Manteca” by Dizzy Gillespie.
“Fiesta Mojo” by Dizzy Gillespie.
“Alabama” by John Coltrane.
“Olé” by John Coltrane.
“Trinidad Goodbye” by Kenny Barron, from Gillespie's Jambo Caribe album.

Tonight Wynton Marsalis, Managing and Artistic Director of Jazz at Lincoln Center, and Music Director and lead trumpet of its Orchestra, was a conversational, humorous, and informative raconteur, before and between numbers. Two sets were performed, honoring Duke Ellington, Dizzy Gillespie, John Coltrane, and Charles Mingus, and Mr. Marsalis masterfully shared anecdotes about the successes and challenges of each musician’s career, as well as some of his own personal experiences. He also put each song into historical focus and context. Sometimes he skipped around the program, even choosing numbers that were not planned. This made for a mesmerizing evening, and, thankfully, Ted Nash gave me the exact list for both sets. Rose Hall was packed, with Jazz at Lincoln Center fans, some shouting out some jazz trivia comments, adding names and dates here and there. Mr. Marsalis relishes this onstage ease and informality, whether at the intimate Dizzy’s Club Coca-Cola or at the formal Rose Hall seating. Everyone enjoyed the evening.

“Dizzy Moods” by Mingus, from his Mexican Moods, charged in like a propulsive train blast, with Mr. Marsalis opening on his trumpet. Ted Nash had a second, swinging intro, before Dan Nimmer on piano merged with these two brass musicians. Ali Jackson on drums and Carlos Henriquez on bass brought the frenzy to a finish. The second piece, “Oclupaca” by Ellington, or Acapulco spelled backwards, is from his Latin American Suite. It had a Cuban Habanera rhythm, adding some blues. Mellow brass and clavé piano were showcased, before Walter Blanding’s smooth sax breezed in. Mingus’ “Tijuana Gift Shop”, also from his Mexican Moods, was played as a lyrical big band number, with Mr. Henriquez making his bass a powerful force. Vincent Gardner on trombone was also eloquently featured. Ted Nash was featured on piccolo, in a tropical Bossa Nova tempo, in Ellington and Strayhorn’s “Island Virgin”, with hints of Bourbon Street, as a memory of Herbie Mann came to mind. Mingus’ “Los Mariachis” featured Marcus Printup on trumpet and some Mexican mariachi brass. Dissonant urbane clatter brought out trumpet, trombone, and more trumpet solos. There was room for some improvisational, dance rhythm as well.

Ellington’s “Flaming Sword” brought out Bobby Allende, renowned conga player. Wild, fiery trumpets generated magnetic mambo rhythms, followed by a full brass ensemble. Chris Crenshaw, then Mr. Gardner, on muted trombones, followed by Mr. Marsalis on muted trumpet, made this number a memorable finale to the first set, as Mr. Henriquez’ bass and Mr. Allende’s congas brought the music to a close. Gillespie’s “Manteca” was reminiscent of my days dancing at The Copa, a great salsa piece. Victor Goines, on tenor sax, filled this music with intoxicating Cuban jazz, what Mr. Marsalis had called Cub-Bop. Kenny Rampton’s trumpet solo was enhanced by Bobby Allende, whose conga drum riff raised the roof, with some help from the bass. Expanding the Latin experience, Gillespie’s “Fiesta Mojo” was a mixture of samba and swing, with Ted Nash on fluttering flute, followed by Mr. Printup’s trumpet solo. A swinging bass tempo enriched the rhythm section, before the trombones carried the theme. Considerably shifting the mood, Mr. Marsalis introduced Coltrane’s "Alabama” as a jazz dirge, an homage to four girls murdered in Alabama in the 1960’s. It was a mournful, gorgeous piece, with a spellbinding solo by baritone saxophonist, Joe Temperley, who touchingly greeted the crowd. Mr. Temperley is an original member of the Jazz at Lincoln Center Orchestra, who appeared tonight as a featured guest on "Alabama".

Coltrane’s “Olé” followed, bringing out Karl Kohut on bass, for a two-bass number. The basses opened with Mr. Blanding featured on sax, in rolling trills. Elliot Mason, on trombone, created echoing themes, increasing in intensity and interest. Muted bass and Mr. Nash’s piccolo pleasingly evoked a bullfight and flamenco motif. Mr. Jackson finally had his solo spotlight, and his drums filled the Hall. The full clarinet ensemble joined the two basses for a rousing finale. Kenny Barron wrote “Trinidad Goodbye” that appeared on Gillespie’s Jambo Caribe album. It was a fitting closing number for tonight, arranged by saxophonist, Sherman Irby. Mr. Irby joined in on the dervish dance rhythms, with additional solos by Mr. Blanding on sax and Mr. Jackson on drums. It should be noted that Ryan Kisor, on trumpet, and Paul Nedzela, on baritone saxophone, added greatly to both sets. Kudos to tonight’s exceptional musicians and renowned composers. .

The Jazz at Lincoln Center Orchestra
Courtesy of Lawrence Sumulong (JALC)

Dan Nimmer on Piano
Ted Nash on Alto Saxophone
Carlos Henriquez on Bass
with The Jazz at Lincoln Center Orchestra
Courtesy of Lawrence Sumulong (JALC)

Wynton Marsalis, Ryan Kisor,
Kenny Rampton, Marcus Printup on Trumpets
with The Jazz at Lincoln Center Orchestra
Courtesy of Lawrence Sumulong (JALC)

Joe Temperley on Baritone Saxophone,
with The Jazz at Lincoln Center Orchestra
Courtesy of Lawrence Sumulong (JALC)

For more information, contact Dr. Roberta E. Zlokower at