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 Sherman Irby's Inferno

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Sherman Irby's Inferno
Blue Engine Records

"Inferno" is a suite by Sherman Irby, the lead alto saxophonist for the Jazz at Lincoln Center Orchestra (JLCO). The suite is Irby's interpretation of Dante Alighieri's epic poem from "The Divine Comedy," which takes listeners on a musical tour of the underworld's nine circles. This recording is from a May 19, 2012 performance by JLCO, the personnel of which included on Reeds: Sherman Irby (alto saxophone, clarinet, and flute), Ted Nash (alto saxophone, clarinet, and flute), Victor Goines (tenor saxophone, bass clarinet, and clarinet), Walter Blanding (tenor saxophone), and special guest Joe Temperley (baritone saxophone, bass clarinet); Trumpets; Ryan Kisor, Marcus Printup, Kenny Rampton, and Wynton Marsalis; Trombones Vincent Gardner, Chris Crenshaw, and Elliot Mason; and the Rhythm Section: Dan Nimmer (piano). Carlos Henriquez (bass), and Ali Jackson (drums).

The download of this recording that I was provided did not include more than a brief description of the music. I also am aware of Dante, but not familiar with his writings. There may be liner notes that explain the seven movements as well as the connection to Dante's writings. Baritone saxophonist Temperley is cast as the voice of Dante, while the various improvisers are intended to give life to the denizens of hell. Even without a fuller context, I was able to appreciate the music and the performance captured here.

One thing that impressed me was an Ellingtonian quality to the music and performances. One might compare the music here to some of Ellington's Suites. The sounds of the horn sections, such as the heralding of the trumpets heralding at the beginning of "Movement I; House of Unbelievers," along with the solos from Ted Nash's flute, Victor Goines' clarinet, and Chris Crenshaw's trombone, as well as the voicings of the horn sections, enhance this feel.

While the JLCO plays at a high level throughout, one standout track is the animated, blues-drenched "Movement III: Beware the Wolf and the Serpent," with Irby's heated alto sax followed by Elliot's equally spirited trombone and Wynton Marsalis fiery trumpet. But there is magic to be heard throughout this first-rate performance of a superb musical composition. "Inferno" is an outstanding recording. I understand that this recording is only available as an MP3 or hi-res WAV digital download from https://store.jazz.org/products/inferno.

I received a download to review from Blue Engine Records.

Chris Rogers Voyage Home

Chris Rogers
Voyage Home
Art of Life Records

This album is the debut as a leader by trumpeter Chris Rogers, who is the son of legendary salsa and latin jazz trombonist Barry Rogers. Rogers was also with the Brecker Brothers and Billy Cobham, a founding member of the legendary jazz-rock band "Dreams." A remarkable player, he replaced Tom Harrell in Gerry Mulligan's Concert Band at the age of 19. Rogers himself states about his background, "“Listening to Mike, Randy and my dad playing together, and all Barry’s great solos on those classic Eddie Palmieri sides pretty much informed my concepts... and have been such towering influences upon me that the music here can be considered a direct reflection of their incredible spirits.”

There is a wonderful cast for this recording (recorded in 2001 but now released) with the bass/drums tandem of Jay Anderson and Steve Johns, pianist Xavier Davis, Synthesizer/keyboard wizard Mark Falchook joins the rhythm section on three. Two selections have the great Mike Brecker (Randy contributed to the liner booklet), and four have tenor and alto saxophonist Ted Nash, while baritone saxophonist Roger Rosenberg and trombonist Art Baron perform on a very special dedication to Barry Rogers - enhanced by the great man himself on an introductory trombone cadenza (thanks to the blessings of technology). Also guitarist Steve Khan is on three tracks, two of which include conguero/percussionist Willie Martinez.

Rogers contributed the nine compositions performed here which might in overly simplistic terms be viewed as being rooted in the post-Coltrane and Blue Note hard bop of the late sixties and beyond. The opening "Counter Change" certainly starts in that mode with the leader's crisp trumpet and Brecker's robust, volcanic tenor sax while the following title track (dedicated to Dan Grolnick) has a dreamy flow that to these ears evokes some of Herbie Hancock's recordings and has some lovely tenor from Nash. While "Whit's End" alludes to Whit Sidener, Rogers' teacher at the University of Miami, it is dedicated to Michael Brecker, who is brilliant here also playing with virtuosity and imagination while Rogers own playing displays his clarity and bite.

Dedicated to Lew Soloff, "The Mask" has a bluesy funk feel to it with more strong tenor from Nash. "Ballad for B.R." is dedicated to his father and the opening trombone cadenza is lifted from one of his father's solos with Eddie Palmieri. Art Baron on trombone and Roger Rosenberg on baritone sax join Nash and Rogers for this performance with some lovely arranging of the four horns in stating the theme and coloring the solos by Nash, bassist Anderson, Rogers, Rosenberg and Nash on an enchanting performance.

There is a three song suite of songs that feature guitarist Steve Khan, starting with "Rebecca" dedicated to Ray Barretto, a spritely paced latin jazz composition that he brought to a Barretto rehearsal. Pianist Hector Martignon named it after Rogers' sister who had attended on of their gigs. Dedicated to Mike Lawrence, "Ever After", was Rogers' first composition. It is a lovely ballad with the lyricism of Rogers and Khan evident throughout set against a light samba-like rhythm. "Six Degrees" is described as a bebop-influenced composition, with Rogers playing a mute (evoking Miles to an extent) with Khan's gorgeous comping in addition to his own marvelous solo. Bassist Anderson is also showcased here.

Nash returns for "The 12-Year Itch," whose title refers in part to it taking 12 years to finish this jazz shuffle. The head of this bouncy performance reminds me of some of Woody Shaw's compositions. Pianist Davis is featured here with a solid improvisation, along with by the two horns. It closes an excellent recording that sounds contemporary today.

My review copy was received from a publicist. This review originally appeared in the March-April 2017  Jazz & Blues Report (Issue 371). Here is a short video clip of Chris Rogers on flugelhorn.