Jazz at Lincoln Center Orchestra with Wynton Marsalis Black, Brown & Beige

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Black, Brown & Beige
Blue Engine records

Blue Engine Records, the label of Jazz at Lincoln Center, has been quite active recently. Among its latest releases is from 2018 performances of the Duke Ellington work that Ellington debuted at his 1943 Carnegie Hall concert. "Black, Brown & Beige" is one of the few performances of a work that initially received mixed reactions. It has become recognized as one of Ellington's most significant works. Wynton Marsalis says this suite "sits alone in the history of jazz," and "covers a mosaic of not just Afro-American but of American styles of music… ."

Joe Alterman writes in the liner booklet for this release, "Black, Brown and Beige" is a great and important piece, one that inspires me as both a musician and a human being. As a musician, I experience an exciting and rich universe, a multi-faceted and superbly crafted voyage through a large and important cross-section of the American vernacular: work songs, spirituals, the blues, early New Orleans-style jazz, the circus, the swing era, ballroom dancing, and even the Caribbean-influenced Habanera."

Chris Crenshaw, who transcribed and conducted this performance, states that "It was my intention as a transcriber and conductor to be true to the spirit of Ellington. We sought to make every performance sing and dance with the spark of invention and play with love, respect, and dedication. That's what Duke's achievements demand and it's what he deserves. Hallelujah!"

The personnel that evening of the Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) were Reeds: Sherman Irby (alto saxophone), Ted Nash (alto saxophone), Victor Goines (tenor saxophone, clarinet), Walter Blanding or Julian Lee (tenor saxophone), and Paul Nedzela (baritone saxophone); Trumpets: Ryan Kisor, Marcus Printup, Kenny Rampton, Wynton Marsalis (music director), and Jonah Moss; Trombones: Vincent Gardner or Kasperi Sarikoski, Chris Crenshaw or Sam Chess, and Elliot Mason; and Rhythm Section: Dan Nimmer (piano, bells), Carlos Henriquez (bass), Marion Felder (drums), and James Chirillo (guitar). Also, there are special guests, Eli Bishop (violin) and Brianna Thomas (vocals).

The three-part "Black, Brown & Beige" is divided into nine segments, 3 for each part: "Work Song," "Come Sunday," "Light," "West Indian Dance," "Emancipation Celebration," "Blues Theme Mauve," "Various Themes," "Sugar Hill Playhouse," and "Finale." JLCO impresses in capturing the flavor of the original Ellington performance yet its members display their distinctive voices. For example, Marion Felder captures the feel of Sonny Greer. On "Work Song," Paul Nedzela has a robust, earthy tone evocative of Harry Carney, while Sam Chess' growling trombone is in the manner of Sam Nanton. Standing out on a gorgeous rendition of "Come Sunday" is trombonist Kasperi Sarikoski who captures the warmth that Juan Tizol's playing possessed while Eli Bishop takes the Ray Nance solo. Marsalis himself is sterling, such as opening the third segment 'Light" including employing half-valve effects in a fashion of Rex Stewart, while bassist Henriquez shines here as well.

Among other highpoint is Briana Thomas' vocal on "Blues Theme Mauve." While selecting a few highpoints, the whole recording is an outstanding marvelous recording that brings this 1943 composition to 21st Century life. Currently available only as a download, it is available at https://store.jazz.org/collections/frontpage/products/black-brown-and-beige.

A publicist provided me with a download of this recording. Here is a brief excerpt from JLCO's performance of "Black, Brown & Beige."

Jazz at Lincoln Center Orchestra with Wynton Marsalis The Music of Wayne Shorter

Jazz at Lincoln Center Orchestra with Wynton Marsalis
The Music of Wayne Shorter
Blue Engine Records

In the booklet accompanying this new recording devoted to the music of Wayne Shorter from the Jazz at Lincoln Center Orchestra (JLCO), Christian McBride writes, "How would I describe Wayne Shorter? It would be way too easy to call him something like a "legend" or a "genius." Those are words that get thrown around much too easily in today's 140-character culture. Wayne's career is well-known and widely celebrated by not only the jazz community, but by music lovers all over the world. Simply put, he helped to expand the language of modern American music as both a composer and a saxophonist."

This recording memorializes performances by Shorter with JLCO from Mat 2015. It is one of several recordings celebrating Shorter's music joining those by the San Francisco Jazz Ensemble, David Weiss, Antonio Adolfo, and others. Shorter appears on tenor and soprano saxophones with JCLO. The members of JLCO at these performances included: Reeds - Sherman Irby: Alto & Soprano Saxophones, Flute, Piccolo, Bb Clarinet, Ted Nash: Alto & Tenor Saxophones, C And Alto Flutes, Piccolo, Bb Clarinet, Victor Goines: Tenor Saxophone, Bb & Eb Clarinets; Walter Blanding: Tenor & Soprano Saxophones, Bb Clarinet, and Paul Nedzela: Baritone & Alto Saxophones, Bass Clarinet; Trumpets -Ryan Kisor, Kenny Rampton, Marcus Printup, and Wynton Marsalis, Trombones - Vincent Gardner, Chris Crenshaw, and Elliot Mason, and a rhythm section of Dan Nimmer, Piano, Carlos Henriquez, Bass and Ali Jackson, Drums.

The Shorter compositions performed are: "Yes or No," "Diana," "Hammer Head," "Contemplation," "Endangered Species," "Lost," "Armageddon," "The Three Marias," "Teru," and "Mama 'G'." Most of the compositions date from 1959-1966, but a couple are from his Columbia album "Atlantis." Members of the JCLO wrote the arrangements to these compositions that were generally performed by smaller ensembles.

There is some marvelous music here starting with Victor Goines sterling arrangement of "Yes or No" that opens with Shorter on tenor sax. Goines' rich orchestration of the horns frames some terrific solos from Shorter, Wynton Marsalis, and pianist Dan Nimmer. One thing that also is readily noticeable is the superb rhythm section of Nimmer, Henriquez, and Jackson. Ted Nash's arrangement on "Diana" provides a lush, serene setting for Shorter's soprano sax and the trumpets of Marsalis and Printup." Sherman Irby put together as bouncy big band setting for "Hammer Head," a classic from Shorter's time with Art Blakey. Irby on alto sax and trombonist Vincent Gardner solo in addition to Shorter while rhythm trio keeps a tight groove.

Other notable selections include "Endangered Species" with one of Shorter's best soprano sax solos on this date and one of Ali Jackson's drum solos set against Gardner's imaginative arrangement. There is a bit of organized chaos at the opening of Marcus Printup's arrangement of "Armageddon," with Nimmer's block chords lending a roomy ambiance here. Shorter's swirling soprano sax is spotlighted in Carlos Henriquez's arrangement of "The Three Marias." At the center of this performance though is Shorter's soprano sax set against just the rhythm section. Jackson's accompaniment is especially noteworthy. All three members of the rhythm section get to solo on the vibrant "Mama 'G'," with fiery playing from Shorter. Jackson's volcanic drum solo that brings this performance (and this recording) to a highly charged close.

The Jazz at Lincoln Center Orchestra under Wynton Marsalis' direction has a well-deserved reputation for the quality of its music. The concerts with Wayne Shorter resulted in this vibrant superlative collaboration with Wayne Shorter.

I received my review download from a publicist. Here the JLCO perform "Hammerhead."

Jazz at Lincoln Center Orchestra with Wynton Marsalis Big Band Holidays II

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Big Band Holidays II
Blue Engine Records

Among the new recordings to help folks celebrate the winter holidays is "Big Band Holidays II" by Jazz at Lincoln Center Orchestra with Wynton Marsalis. This celebrated Orchestra brings big band swing to some holiday favorites and some lesser-known tunes for this time of year. The musicians contributing to these performances from the Orchestra's annual Holiday programs are: Reeds - Sherman Irby –  alto and soprano saxophones, clarinet, flute; music director (2015-2016); Ted Nash – alto and soprano saxophones, clarinet, flute; Victor Goines – music director (2018); tenor and soprano saxophones, clarinet; Walter Blanding (2015–2017) – tenor saxophone, clarinet, shaker; Paul Nedzela – baritone and soprano saxophones, bass clarinet; *Camille Thurman (2018) – tenor and soprano saxophones; Trumpets - Marcus Printup; Kenny Rampton; Wynton Marsalis (music director, 2017/18); *Ryan Kisor (2015, 2017-2018);*Greg Gisbert (2016); *Bruce Harris (2016);*Tatum Greenblatt (2017); Trombones - Vincent Gardner; Chris Crenshaw; Elliot Mason (2015-2016, 2018); *Sam Chess (2017); *Eric Miller (2018); and Rhythm Section - Dan Nimmer – piano; Carlos Henriquez – bass; Ali Jackson (2015-2016) – drums; *Marion Felder (2017) – drums; and *Charles Goold (2018) – drums. Those named marked with an asterisk are substitute orchestra members. Guests on this release include Aretha Franklin – vocals and piano; Audrey Shakir – vocals; Denzal Sinclaire vocals; Catherine Russell – vocals; Veronica Swift – vocals; James Chirillo – guitar.

Anyone who has seen the Jazz at Lincoln Center Orchestra (JLCO) knows what a superb band it is whose members are excellent session players and also fabulous soloists. It is a terrific big band in the Count Basie or Thad Jones-Mel Lewis Big Bands vein. The JLCO members contributing the arrangements for these eleven wonderful performances that open with Wynton Marsalis' arrangement of "Winter Wonderland," where Marsalis' trumpet is only one of the exceptional soloists. Catherine Russell is present for three vocals with her singing on Steve Allan's "Cole Yule" standing out. Sherman Irby arranged this, and he soloed brilliantly. Denzel Sinclaire is heard singing on an animated "We Three Kings" and a bluesy arrangement of "Silent Night." The former number was arranged by Carlos Henriquez and also features Paul Nedzela's superb baritone sax. Victor Goines arranged "Silent Night," which has James Chirillo's bluesy guitar solo. Aretha Franklin is stunning on "O Tannenbaum," accompanied only by her piano. Vocalist Veronica Swift shines on "(Everybody's Waitin' for) The Man with the Bag," with Vincent Gardner's trombone (quoting "Frosty the Snowman") in the spotlight. Walter Blanding is responsible for the swinging arrangement.

The other performances are similarly first-rate, including the buoyant Latin groove of "Brazilian Sleigh Bells." Wynton Marsalis makes the announcements and salutes the various soloists on these excellent, vibrant, toe-tapping, brassy performances. "Big Band Holidays II" will undoubtedly bring plenty of holiday cheer to any holiday celebrations.

I received a download to review from Jazz at Lincoln Center/ Blue Engine Records. Here is the Jazz at Lincoln Center Orchestra performing "Sleigh Ride."