[Dixielandjazz] Louis Armstrong, Vince Giordano, Wynton Marsalis - LIVE via internet
marekboym at gmail.com
Fri Dec 28 12:28:38 PST 2012
Guess I am not the person to whom you refer - no musicfor me on that site!
On 28 December 2012 22:10, <SargentDrums at aol.com> wrote:
> I'd let EVERYBODY know about a phenomenal opportunity to see the live
> broadcasts of Vince Giordano & Wynton Marsalis pairing up to present a
> 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 &
> 11:00PM (ET)
> 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
> Through Monday
> 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
> 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
> Center features an all-star team incorporating key players from Vince
> Giordano's Nighthawks, starting with the energetic leader on tuba and
> saxophone. (If the fiscal cliff has got you worried, stay home and view
> webcast at jalc.org/live.) How fitting that Satchmo's should be the last
> 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
> justice to Armstrong's storied legacy, but it should be noted that Messrs.
> Marsalis and Kellso rarely play together as a section but, rather,
> 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
> 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
> 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
> 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
> 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
> 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
> and Tuesdays, and also next Thursday at Highlights in Jazz.) Dan Nimmer,
> 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
> scat vocal by Mr. Giordano; "Hotter Than That," with a great scat vocal
> trombonist Chris Crenshaw; "St. James Infirmary," with a blues vocal by
> Mr. Marsalis; a "generic" New Orleans closer, "Second Line"; and "Ory's
> 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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