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Jazz at Lincoln Center Orchestra with Wynton Marsalis at the Mesa Arts Center

By Patricia Myers
October 20, 2015
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America��s jazz is our past and our potential, and connects to our earliest selves and our better selves.

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Mesa Arts Center
Mesa, Arizona
September 25, 2015

A sophisticated and engaging performance by the

Jazz at Lincoln Center Orchestra with Wynton Marsalis

band / ensemble / orchestra
b.1987

" data-original-title="" title="">Jazz at Lincoln Center Orchestra with Wynton Marsalis with

Wynton Marsalis

trumpet
b.1961

" data-original-title="" title="">Wynton Marsalis was a meld of the trumpeter-leader's ongoing homage to jazz history plus the spark of original compositions from his current colleagues.

" data-original-title="" title="">Dizzy Gillespie's "Things to Come" from 1946 was the opening chart, Marsalis delivering an extended solo at super-speed that exhibited his graceful power and absolute command of the instrument.

Duke Ellington

piano
1899 - 1974

" data-original-title="" title="">Duke Ellington's 1940 instrumental hit, "Concerto for Cootie," showcased the spectacular chops of trumpeter

Ryan Kisor

trumpet
b.1973

" data-original-title="" title="">Ryan Kisor, especially on the closing shout chorus, as the ensemble earnestly delivered Ellington's writing style of that era.

Saxophonist

Wayne Shorter

saxophone
1933 - 2023

" data-original-title="" title="">Wayne Shorter's "Contemplation" featured tenor titan

Walter Blanding

saxophone, tenor
b.1971

" data-original-title="" title="">Walter Blanding in the composer's role. Then it was Dizzy's fiery "Fiesta Mojo" to showcase the brilliance of trumpeter

Marcus Printup

trumpet
b.1967

" data-original-title="" title="">Marcus Printup and

Ted Nash

saxophone
b.1960

" data-original-title="" title="">Ted Nash's lithe flute, underscored by drummer

Ali Jackson

drums

" data-original-title="" title="">Ali Jackson employing cymbals brush-work in a Latin swing mode.

Trombonist

Chris Crenshaw

trombone
b.1982

" data-original-title="" title="">Chris Crenshaw's "Bearden" (inspired by the paintings of Romare Bearden) was a slower-paced chart that featured unison trumpet-section elements, sax quintet segments and a dreamy solo by the tenor man

Victor Goines

woodwinds
b.1961

" data-original-title="" title="">Victor Goines, with pianist

Dan Nimmer

piano
b.1982

" data-original-title="" title="">Dan Nimmer injecting stride movements. Bassist

Carlos Henriquez

bass
b.1979

" data-original-title="" title="">Carlos Henriquez was featured on his original, "Guara Jazz," followed by "Mood Indigo" played in1930s Ellington style with a trio of clarinet, muted trumpet and trombone embodying the sleekly pensive blues form.

Marsalis next chose the post-modern "Portrait in Seven Shades" by pianist

Chick Corea

piano
1941 - 2021

" data-original-title="" title="">Chick Corea, noting that Corea's recent weeklong with the orchestra included a performance at the Hollywood Bowl. "Straight Up and Down" was the final selection, featuring trumpeter Kisor and trombonist

Vincent Gardner

trombone
b.1972

" data-original-title="" title="">Vincent Gardner up front to alternate hot solos and duo exchanges.

As usual, Marsalis sat within the trumpet section, even during his opening remarks that "America's jazz is our past and our potential, and connects to our earliest selves and our better selves." The concert was a benefit for the 10-year-old Mesa Arts Center's outreach programs. Among those is this sixth year of the "Jazz A to AZ" project, which brought Marsalis for a four-day residency of clinics in local schools, a free public talk and a concert with Phoenix Symphony musicians. As expected, JLCO was impeccably dressed, in taupe Brooks Brothers suits with muted solid-color ties, the shades differing for each section. In sound and sight, it was class all the way, Wynton's way to honor this treasured musical genre.

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