Rose Theater
NY, NY US
Broadcast date: 2009-11-13
Performance date: 2006-09-28
Arguably the most influential recordings in the history of jazz, Louis Armstrong's Hot Fives and Hot Sevens were the occasion for three Jazz at Lincoln Center concerts in the Rose Theater, Sept. 28-30, featuring Wynton Marsalis and eight other musicians.
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Wycliffe Gordon (trombone), Victor Goines (clarinet), and Walter Blanding (tenor sax) join Wynton Marsalis (trumpet) to recreate Armstrong's revolutionary early work, "Satchmo" on "Cornet Chop Suey," "Fireworks," and "St. James Infirmary." 19-year-old pianist Jonathan Batiste astounds with his "stride" technique.
Announcer 2:50
Coronet Chop Suey 3:57
Potato Head Blues 4:35
Announcer 1:22
Jazz Lips 3:56
Weary Blues 4:04
Announcer 1:26
Ory's Creole Trombone 4:03
Melancholy 3:51
Announcer 0:13
Fireworks 4:06
Announcer 1:24
St. James Infirmary 6:15
Announcer 0:52
Heebie Jeebies 4:21
Announcer 0:22
Basin Street Blues 6:51
Voiceover Outro 1:11
Total Time: 55:48
A review: Well my all my teeth are dry from so much smiling. This concert was so energetic, so tightly woven and yet so diverse in individual expressions in sound that I am as pleased as I have ever been from having attended a formal concert. In fact, this concert did not seem formal at all. Despite being held in such an illustrious setting, the sound in Rose Theatre was intimate and the band members were playful in their playing; cheering each other on, shaking their heads in recognition of each other’s virtuosity, and grimacing in sheer delight by the very sounds they created. Each musician took the mic and sang! I expected this from Wycliffe Gordon and have come to understand Wynton, too, might play his voice. I was, however, pleasantly surprised when Vincent Gardner began to scat and by the time the mic made its rounds, Victor Goines, Walter Blanding, and Don Vappie had all made their vocal statements. Don Vappie, fresh as he is, held his banjp in a most curious position as he moaned, sighed and plucked at those strings causing the most melodic/erotic vibrations with his eyes closed as if he knew that instrument as Adam knew Eve…and right on stage in front of a full house. The nerve! What a delight!
Jonathan Batiste, a 19 year old prodigy from New Orleans who is now at Juilliard, played the piano masterfully as if he had always known Armstrong’s music; and, hailing from a musical family, it could not be otherwise. Victor Goines took us back in time, playing only his clarinet tonight. I have never heard a clarinet played more beautifully, more masterfully or with more passion. I never knew the range of that instrument was so expansive. Victor hit notes so far above the staff the notation must not exist (perhaps this explains the stray canines gathered round the exit door?) Victor played energetically, complementing most often and most beautifully Wynton’s sonic movement. Indeed clarinet and trumpet were siamese twins this evening and we were all enriched.
Walter Blanding, of course, played beautifully and had a lovely solo on his soprano saxophone but the period music featured tonight was for brass, clarinet and strings.Ali Jackson, whose playing I always enjoy, was busy as could be sampling various devices attached to his drum kit tonight but, alas, clarinet and trumpet were the glue tonight. Well, there is so much more to say but for now… JG
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