Lovers of live jazz didn’t have to drive to a New York City venue last week, thanks to the Mayo Performing Arts Center (MPAC) hosting the world-renown Jazz at Lincoln Center Orchestra (JLCO) with Wynton Marsalis.
Swinging big band music was hot in Manhattan! From the moment the Tony Kadleck Big Band began their set at the Birdland Jazz Club, we tapped our toes and jumped to a tasteful, tight, polished sound, solid rhythm section, cats burnin’ solos, and sophisticated superb arrangements by trumpeter and band leader Kadleck.
Trombonist/composer Conrad Herwig and the Latin side all-stars ascended the stage to deliver their first musical offering. Splendid charts, extended improvisation, artistic interaction, virtuoso performances, a tight horn section, and a solid rhythm section immediately lit the room. A powerhouse of Latin rhythmic fire by drummer Robby Ameen and percussionist Mauricio Herrera on congas ignited an astounding sojourn.
If the 17-piece Kevin Blanq big band and Kathryn Farmer were not enough to get you in the mood for smooth swinging and dancing, the urbane, bespoke, and suave dancer extraordinaire Manuel Rojas appeared to deliver a dance lesson at 8:30 as a second band, Swing a Delic arrived on stage. With Rojas, it was time to revel in the legacies of Al Minns and Frankie Manning with Lindy Hop, swing outs, tuck-in-turn, jazz, tap, sugar foot walk, breakaway, and swing dance….dum-dee-dum, dum-dee-dum, dum-dee-dum, dum-dee-dum. Revelers thronged to the dance floor as the buoyant and joyous Rojas drew them in.
For the first time in 35 years, Duke Ellington’s Sacred Concerts returned to the stage. Envisioned initially by Ellington as a “Festival of Grace,” provenance for Sacred Concerts is informed by a broad spectrum of jazz, classical and choral music, spirituals, dance, gospel, and blues. Ellington’s compositional product in this venue consisted of a triptych of 34 songs originally recorded in 1965, 1968, and 1973 respectively. It can be argued that an august Ellington facing his mortality considered his Sacred Concerts among his most significant works.
Wendel’s songs are strikingly original, expressive, and extraordinarily inventive. His ideas and improvisations are freely chromatic, virtuosic, and organic, and he employed subtle be-bop idioms when it suited him. His facility is so commanding that he regularly reaches into the stratosphere of the tenor saxophone’s extended range. Notably, he can express ideas with the restraint of Lester Young while employing the pyrotechnics of Charlie Parker.
Charlap is a virtuoso with full command of his musical voice on the piano who, with his fellow artists, lifted spirits and touched hearts. Fitting his artistic soul and imagination, Charlap played with passion, rich cinematic grace, and delicacy. His fiery offerings were an elegant, eloquent creative commentary that created energy and excitement.
Gilkes’s new album Cyclic Journey touches anyone who appreciates and enjoys world-class artistry and virtuosity in classical and jazz idioms. Cyclic Journey is a musical adventure where the listener can experience the sounds of a team of musicians at the top of their game. At the same time, Gilkes shares his biographical virtual journey that emerged from his creative imagination. As you listen, close your eyes, and permit yourself to be transported through his ephemeral, beautiful sonic world.
Tonight was not just a show; it was an authentic jam session of virtuoso artists guiding their listeners through time and continental travel, gospel, blues, jazz, cool, fusion, bossa, and funk.
Tony DeSare introduced each song in an engaging and deeply personal way. His manner and charm in speaking were as crucial as his singing and playing. Audience members sighed when he spoke of his nine-year-old son and the romance and beauty of Paris. They nodded and smiled as he described the provenance of each musical gem.
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