[Dixielandjazz] Louis Armstrong, Vince Giordano, Wynton Marsalis - LIVE via internet

Marek Boym 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
> 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:
> http://jalc.org/multimedia/webcasts/dizzys?reset=1
> 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
> "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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