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Wynton Marsalis: A rhapsody of respect for greats of classical jazz
It has been about 30 years since precocious American trumpeter Wynton Marsalis, having won Grammys in jazz and classical music, divided the jazz world with his controversial opinions. He dismissed many of the innovative or experimental styles that had come into jazz in the 1970s and 80s, and emphasised what he saw as its essential elements: coherent improvisation, swing feel and the blues. Keep reading »
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Jazz at Lincoln Center Orchestra with Wynton Marsalis, Barbican, London — ‘Flamboyant’
Wynton Marsalis promised that the final evening of JLCO’s three-night Barbican residency would “capture the impact of George Gershwin’s music on the jazz tradition”. This was accomplished in flamboyant style. The trumpeter’s introductions were as concisely eloquent as his few short solos, while JLCO’s ability to conjure earlier jazz styles remains unrivalled. Over the evening they referenced late ragtime, cool-school modernism and most points in between. Keep reading »
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Beloved Styles, Crossing and Colliding
For months the American Composers Orchestra has been touting an adventurous collaborative program with the Jazz at Lincoln Center Orchestra. But as the concert on Thursday night at the Rose Theater showed, bold collaborations are sometimes easier to plan than to pull off.
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Wynton performs Gershwin’s Rhapsody in Blue
On November 16, 17, 18 at Rose Theater, the Jazz at Lincoln Center Orchestra with Wynton Marsalis, the American Composers Orchestra with special guest conductor Steven Sloane and pianist Marcus Roberts perform Gershwin’s groundbreaking Rhapsody in Blue, and then underscore vocal performances of Nelson Riddle’s finest arrangements from the Gershwin songbook.
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Wynton Marsalis and JALC celebrate George Gershwin
On November 13, 2006 at 7pm, Jazz at Lincoln Center will celebrate the music of the great American composer George Gershwin at the organization’s fall gala entitled Manhattan Rhapsody: A Celebration of George Gershwin.
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Gershwin Variations Raise Spirits and Cash
For a jazz band, a concert program of George Gershwin’s music is like prime rib to a hound. There isn’t a reasonably educated jazz performer around who hasn’t internalized ‘‘Embraceable You,’’ or at least Charlie Parker’s rewriting of it; after Louis Armstrong’s and Miles Davis’s versions, every trumpet player knows the songs from ‘‘Porgy and Bess.’’ Keep reading »