[Dixielandjazz] Louis Armstrong, Vince Giordano, Wynton Marsalis - LIVE via internet
SargentDrums at aol.com
SargentDrums at aol.com
Fri Dec 28 12:10:36 PST 2012
I'd let EVERYBODY know about a phenomenal opportunity to see the live
broadcasts of Vince Giordano & Wynton Marsalis pairing up to present a series
of concerts presenting the music of Louis Armstrong's Hot 5 & Hot 7.
But, since, ONLY ONE PERSON on this list apparently reads my posts, this
is my New Year's present to that person.
Here's the link to the live streaming broadcast:
Live from Dizzy's Club Coca Cola
Wynton Marsalis: Wed-Sun, Dec 26-30, 7:30 & 10:00PM, Mon, Dec 31, 7:30 &
Two sets each night!
Here's the review for the concerts:
The Louis Armstrong Continuum
Dizzy's Club Coca-Cola
Broadway at 60th Street, (212) 258-9595
Louis Armstrong was the alpha and the omega of jazz, the first genius of
the music and the one whose achievements will never be surpassed. For New
Year's weekend, Wynton Marsalis has assembled a program of Armstrong's "Hot
Fives and Sevens" compositions of the late 1920s, the music generally
regarded as the great man's greatest. What's more, Mr. Marsalis has brought in
reinforcements: the band at this special fundraising event for Jazz at Lincoln
Center features an all-star team incorporating key players from Vince
Giordano's Nighthawks, starting with the energetic leader on tuba and bass
saxophone. (If the fiscal cliff has got you worried, stay home and view the
webcast at jalc.org/live.) How fitting that Satchmo's should be the last music
you'll hear in 2012—and the first you'll hear in 2013.
The palette has been expanded in 2012, so that the juxtaposition between
old and new feels a lot more seamless. For instance, the current ensemble
features two trumpet stars—the deservedly celebrated, multi-stylistic Mr.
Marsalis and the brilliant Jon-Erik Kellso, a longstanding Nighthawk and
specialist in 1920s brass styles. It takes at least two trumpet players to do
justice to Armstrong's storied legacy, but it should be noted that Messrs.
Marsalis and Kellso rarely play together as a section but, rather, underscore
different aspects of the Mighty Man's brass heritage. It's the leader's
imperative to call dibs on the famous breaks, for instance, on "Potato Head
Blues"—after all, wouldn't you?
Likewise, the ensemble essentially sports two bassists, Carlos Henriquez,
one of Mr. Marsalis's usual suspects, on bass violin, and Mr. Giordano on
tuba (he plays bass sax more on solos, as on "Jazz Lips," than in the rhythm
section). String bass and brass bass together would be redundant—they'd
just get in each other's way, unless one were soloing—but here, whenever Mr.
Marsalis feels the urge to modernize the proceedings, the rhythm shifts
from tuba to bass fiddle.
The JaLCO's drummer, Ali Jackson, is like two drummers in one, and he
handles the changes with remarkable subtlety. The opener, "Cornet Chop Suey,"
includes a stealthy time-shift: Mr. Jackson switches the emphasis from his
bass drum to the cymbals, and the whole shebang instantly sounds more
bebop-ish, even though he continues to play a traditional jazz-style two-beat.
Rather than feeling contrived, it has a feeling of freshness and vitality. (If
you want to hear the music of the jazz age roar as if the 1920s had never
ended, make it your business to catch the Nighthawks at Sofia's on Mondays
and Tuesdays, and also next Thursday at Highlights in Jazz.) Dan Nimmer, on
piano, likewise transverses multiple generations, suggesting a bridge
between Earl (as in Hines) and Erroll (as in Garner).
On opening night, the group also essayed "Melancholy" with an entertaining
scat vocal by Mr. Giordano; "Hotter Than That," with a great scat vocal by
trombonist Chris Crenshaw; "St. James Infirmary," with a blues vocal by
Mr. Marsalis; a "generic" New Orleans closer, "Second Line"; and "Ory's Creole
Trombone," spotlighting Mr. Crenshaw instrumentally, as an encore. All of
which further proved that Louis Armstrong's music will be relevant to
future musicians and audiences as long as hearts continue to beat.
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