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."