" data-original-title="" title="">Stan Kenton. Under the direction of Austrian conductor Sigi Feigl, the orchestra transported the packed hall on a journey through jazz, swing and Latin rhythms, evoking the golden era of big band music. Over the course of an hour and a half, the musicians showcased Kenton's dynamic compositions with a vibrant energy that resonated deeply with the audience.

The concert was structured in two parts: the first featuring classic jazz numbers, while the second was dedicated to Kenton's 1956 album Cuban Fire! (Capitol), an exhilarating blend of Afro-Cuban influences and big band arrangements. The orchestra handled the complex arrangements with remarkable precision and enthusiasm, capturing the cinematic grandeur of Kenton's music.

The first half of the evening featured a collection of Kenton classics, setting the stage with a mix of playful harmonies, sharp dynamics and impeccable solos. Bill Holman's arrangement of "Stompin' at the Savoy" swung with effortless cool, and featured inspired solos from tenor saxophonist Ivan Ivanov, pianist Gordan Spasovski, and trumpeter Senad Uzeir. Milosh Cholovic's bass work added a steady yet fluid foundation, giving the ensemble a strong rhythmic pulse. This was followed by "A String of Pearls," which featured Kiril Kuzmanov on a blistering and melodic solo, further demonstrating his remarkable ability to balance technical brilliance with expressive depth. The band continued to showcase its dynamic range with "Bernie's Tune," navigating shifts in intensity with precision. Kuzmanov once again took center stage, delivering another phenomenal solo that underscored his mastery of the instrument.

Later in the set, the ensemble welcomed Ratko Dautovski on percussion for a richly textured rendition of "Girl Talk." This tune was one of the evening's more relaxed and smooth moments, providing a nice contrast to the livelier pieces in the set. The band kept a steady, slow-swing feel, with the piano carrying the melody while the trombones laid down a solid harmonic and rhythmic base. Dautovski added subtle rhythmic details that blended naturally with the rest of the ensemble. His contribution gave the piece a bit more depth without overpowering its gentle flow. Kuzmanov, the evening's standout soloist, delivered a blistering yet melodic saxophone performance, his playing both imaginative and technically dazzling. His soloing on "Bernie's Tune" was particularly impressive, blending intricate phrasing with a deep sense of swing. The band demonstrated impressive control over light and shade, with shifts in dynamics that kept the audience fully engaged.

From the very beginning, Feigl's deep appreciation for the orchestra was evident. Expressing his admiration, he reminisced about his first collaboration with the ensemble years ago and praised its growth and evolution. Feigl has been a guest conductor since the National Jazz Orchestra's inauguration years ago, and it was evident how he fine-tuned the band and elevated it into a formidable group. His rapport with the musicians was warm and genuine, and between pieces, he took the time to introduce individual members, even joking about the challenge of remembering all their names. His lighthearted and engaging presence added an extra layer of connection between the performers and the audience.

The main event, Cuban Fire!, was nothing short of a revelation. This seven-part suite, originally composed by Johnny Richards for Kenton's orchestra in 1956, is known for its fusion of orchestral grandeur with fiery Latin rhythms. Under Feigl's direction, the Macedonian National Jazz Orchestra brought a cinematic intensity to the performance, demonstrating just how gloriously dramatic and orchestral this music can be.

From the very first notes of "Fuego Cubano," the band exploded with energy. The brass section delivered the signature Kenton punch, launching into bold, Holstian darkness before giving way to a surging Latin groove. The suite's unpredictable shifts in mood—from high-energy battle sequences to swaying, sultry motifs—were handled with remarkable finesse. The musicians' ability to move seamlessly between explosive brass and intimate rhythmic interludes was a reflection of both their individual skill and their cohesion as an ensemble.

"El Congo Valiente" roared with heroic motifs and blazing percussion, while "Recuerdos" brought a lush, romantic interlude, its melodies soaring over warm brass textures. The band maintained an astonishing level of performance throughout, with every soloist rising to the challenge of the demanding score. The final movements—"Quien Sabe," "La Guera Baila," and "La Suerte de los Tontos"—kept up the momentum, closing the evening with a triumphant, almost cinematic conclusion. One of the most memorable moments came toward the end of the concert when Feigl introduced the final piece, "Three Hearts," with the heartfelt remark, "Tonight, 24 hearts are playing for you from this stage." The audience responded with enthusiastic applause, a reflection of the appreciation and excitement that filled the room throughout the night.

This performance of Cuban Fire! reaffirmed the Macedonian National Jazz Orchestra's position as one of the most accomplished big bands in the region. Its ability to navigate both the technical intricacies and emotional depth of Kenton's music made for an unforgettable night. The success of Cuban Fire! was not only in its execution but in the way it brought the music of Stan Kenton to life, bridging past and present through the universal language of jazz. Whether in the playfulness of the first half or the high-stakes drama of the second, the orchestra delivered a performance that was both powerful and deeply compelling.