BY WENDY ZHANG
Jazz at Lincoln Centre Orchestra
Led by Wynton Marsalis
Sydney Opera House, 2 September 2023
Jazz at Lincoln Centre Orchestra, led by Wynton Marsalis, was an electrifying performance at the Sydney Opera House presented to a concert hall packed with enthusiastic jazz lovers. It was messy, original, and fantastic — a unique type of performance that gave each player artistic freedom and expressions through the solo improvisations, arranging the pieces, and also collaborating with each other in an experimental style. No wonder the four shows they played in Sydney were completely sold out.
The jazz ensemble comprising 14 male players and one female player, all dressed in black, walked onto the stage with a sense of ease and confidence. Artistic director Wynton Marsalis was also the trumpet player sitting in the back row, but unfortunately, the seating plan made him hard to see and hear as he introduced and explained the pieces. The players smiled and nodded to each other as they started their first piece – Jackie-ing, arranged by alto and soprano saxophonist Ted Nash. Wynton led the ensemble with his trumpet, not at all shy in expressing himself. Pianist Dan Nimmer grinned the whole time as he accompanied Wynton, obviously enjoying the collaboration. Chris Crenshaw gave an impressive solo on trombone, and both Ryan Kisor and Kenny Rampton were confident and hitting the high notes with ease on trumpet.
The second piece, introduced by Wynton, was Inferno and composed by alto and soprano saxophonist Sherman Irby. Dan gave a chilled and relaxing piano intro before Paul Nedzela set the tone with his low and pleasant interlude on baritone saxophone. Obed Calvaire kept the pace and set the atmosphere on drums. Ryan and Kenny’s loud and high notes on trumpet created a pleasing contrast with Paul’s baritone saxophone.
The Three Marias, was arranged by bass player Carlos Henriquez. Carlos started playing on bass – upbeat, lively, and optimistic — followed by Obed on drums. Victor Giubes then gave a powerful solo on saxophone, handling handled high notes well and repeating them without losing breath. He was accompanied by piano and bass while an energetic Obed kept the beat on drums.
Free for all was upbeat, and people in the audience smiled and moved to the beat. Sherman gave a standout solo; it was lengthy but he held an impressive forte. Elliott also gave a solo on trombone, which grew faster and faster. The audience seemed to enjoy the thrill and uncertainty: How much faster can he go? Witnessing these musicians playing solo and together made me feel the performance was a conversation between players; they understood each other and their cues perfectly, appreciating each other’s talent and contribution, and enjoying the artistic freedom to express themselves. It was jazz improvisation at its finest.
Dorham’s Epitaph / Short Story by Kenny Dorham was arranged by Sherman. Nicole – the only female player of this ensemble – gave a solo performance that impressed the audience as she increased the pace. Her improv skills were excellent. Marcus Printup’s solo felt refined, as though it were rehearsed, showing a wonderful performance in a controlled and calm manner.
It was a return to the classic with Duke Ellington’s Golden Cress. Wynton described Duke Ellington as “the Bach of our music”. Chris played the lead on trombone, relaxed and slow; a lazy, lounge music feel. The piano introduction was fluent and the whole ensemble played with steady beats despite fluctuations in tempo. It was in the last piece Songs with Orange, arranged by Vincent, that we witnessed Kenny Rampton playing a trumpet solo that was entertaining to watch and listen to.
Wynton, Dan, Carlos, and Obed then played an encore as the audience left the hall. They stood up and played almost like a wedding band, smiling and dancing with each other, truly enjoying themselves and their music as they farewelled the audience.
Images supplied. Credit Craig Abercrombie.
