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Wynton Marsalis, Jazz at Lincoln Center Orchestra & Damian Woetzel – Spaces – New York
The Jazz at Lincoln Center Orchestra is a most impressive ensemble; as I listened to them play Wynton Marsalis’s Spaces at the Rose Theater last Friday, the Vienna Philharmonic came to mind. Their playing has confidence, virtuosity, luster, and a wondrous sense of play. Each player is a powerhouse in his own right, further magnified by the give-and-take of his fellow musicians. Keep reading »
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Father and son Ellis and Wynton Marsalis showcase taste, technical chops to jazz aficionados
Father and son Ellis and Wynton Marsalis showcase taste, technical chops to jazz aficionados at Tanglewood. Keep reading »
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Wynton Marsalis Provokes Again With Head-Scratching ‘Ever Fonky Lowdown’
It had been a while since Wynton Marsalis — the famously provocative trumpeter and Jazz at Lincoln Center patriarch — had stirred controversy on the level that he did in May. Keep reading »
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Jazz review: Wynton Marsalis Quartet at the Barbican
The overzealous spellchecker on my laptop keeps insisting that Wynton Marsalis’s surname is really “marshmallows”, which is about as inapt a culinary metaphor as you could imagine. Keep reading »
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Wynton Marsalis Addresses Juilliard’s 294 Graduates
Your art can be the vaccine for the types of self-involved hysterias that have so often stained human history,” Wynton Marsalis told Juilliard’s nearly 300 graduates and their family members and friends at the school’s 113th commencement ceremony. Keep reading »
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David Robertson brings his tenure as SLSO music director to a high-energy finish with W. Marsalis
In her program notes for the St. Louis Symphony Orchestra concerts this past weekend (May 4 - 6, 2018), René Spencer Saller quotes composer and jazz trumpet virtuoso Wynton Marsalis as describing the final, quiet moments of his “Swing Symphony” this way: “It’s a wistful feeling; it’s not sad, and it’s not happy. It’s a feeling of contentment, a quiet celebration. It’s like the last breath you take: ‘We did this. We had a good time.’” Keep reading »
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Marsalis, Guests Explore the Blues
The blues is the lingua franca on United We Swing: Best Of The Jazz At Lincoln Center Galas (Blue Engine), a new compilation featuring the Wynton Marsalis Septet. The album features memorable performances by a parade of stars from the worlds of pop music, gospel and blues: Bob Dylan, Ray Charles (in one of his final performances), Eric Clapton, Willie Nelson, James Taylor, The Blind Boys of Alabama, Jimmy Buffett, Lenny Kravitz, John Legend, Lyle Lovett, John Mayer, Audra McDonald, Natalie Merchant, Carrie Smith, Susan Tedeschi and Derek Trucks, all backed by the trumpeter’s septet. As Marsalis put it in an interview with DownBeat, “All of them came to play.” Keep reading »
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Jazz review: Jazz at Lincoln Center Orchestra at the Barbican
There was a full complement of hyper-sophisticated technicians in the ranks (all of them male, incidentally), but not for the first time the Jazz at Lincoln Center Orchestra left that nagging feeling of listening to a one-man band. Keep reading »
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JLCO with Wynton Marsalis in London - Bernstein’s compassionate generosity
Leonard Bernstein’s optimistic modernism united showtune, symphony and jazz into a single, outward-looking musical vision. This concert, part of the Barbican’s celebration of Bernstein’s centennial year, captured the compassionate generosity of Bernstein’s work through the opulent reeds, luxurious brass and rhythmic spring of the Jazz at Lincoln Center Orchestra (JLCO). Keep reading »
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Wynton Marsalis’ JLCO Red Hot & Retro At The Barbican
The 1938 Carnegie Hall concert that brought together Benny Goodman’s hit-making orchestra and stars from the Ellington and Basie bands was a game-changing moment for 20th century America, both artistically and socially. Carnegie Hall, a temple of classical music, was opening its doors to a new world. It was also lending its stage to a glimpse of social harmony that – though yet to be fulfilled, 80 years later – was nonetheless a high-profile showcase for white/African-American artistic liaisons that were inconceivable to many in the 1930s. Keep reading »
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