WYNTON MARSALIS — JLCO with Wynton Marsalis and St. Louis Symphony : Swing Symphony

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WYNTON MARSALIS - JLCO with Wynton Marsalis and St. Louis Symphony : Swing Symphony cover
4.50 | 1 rating | 1 review
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Album · 2019

Tracklist

Movement I: St. Louis to New Orleans 7:52
Movement II: All-American Pep 10:44
Movement III: Midwestern Moods 12:01
Movement IV: Manhattan to LA 10:15
Movement V: Modern Modes and the Midnight Moan 7:11
Movement VI: Think-Space: Theory 6:50
Movement VII: The Low Down (Up on High) 7:37

Line-up/Musicians

THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

REEDS
Sherman Irby
Ted Nash
Victor Goines
Walter Blanding
Paul Nedzela

TRUMPETS
Ryan Kisor
Kenny Rampton
Marcus Printup
Wynton Marsalis

TROMBONES
Vincent Gardner
Chris Crenshaw
Elliot Mason

RHYTHM SECTION
Dan Nimmer – piano
Carlos Henriquez – bass
Jason Marsalis – drums

ST. LOUIS SYMPHONY ORCHESTRA

Music Director: David Robertson

FIRST VIOLINS
David Halen (Concertmaster)
Heidi Harris (Associate Concertmaster)
Celeste Golden Boyer (Second Associate Concertmaster)
Erin Schreiber (Assistant Concertmaster)
Dana Edson Myers
Jessica Cheng
Ann Fink
Emily Ho
Silvian Iticovici (Second Associate / Concertmaster Emeritus)
Joo Kim
Melody Lee
Xiaoxiao Qiang
Angie Smart
Hiroko Yoshida
Hyorim Han #

SECOND VIOLINS
Alison Harney (Principal)
Kristin Ahlstrom (Associate Principal)
Eva Kozma (Assistant Principal)
Andrea Jarrett
Rebecca Boyer Hall
Nicolae Bica
Janet Carpenter
Lisa Chong
Elizabeth Dziekonski
Ling Ling Guan
Jooyeon Kong
Asako Kuboki
Wendy Plank Rosen
Shawn Weil
Maya Cohon #
Mary Edge #
Hannah Ji #
Jecoliah Wang #

VIOLAS
Beth Guterman Chu (Principal)
Kathleen Mattis (Associate Principal)
Jonathan Chu (Assistant Principal)
Susan Gordon
Leonid Gotman
Morris Jacob
Chris Tantillo
Shannon Farrell Williams
Christian Woehr
Xi Zhang
Jiali Li #
Lin Wang #

CELLOS
Daniel Lee (Principal)
Melissa Brooks (Associate Principal)
David Kim (Assistant Principal)
Anne Fagerburg
Elizabeth Chung
James Czyzewski
Alvin McCall
Bjorn Ranheim
Yin Xiong

DOUBLE BASSES
Erik Harris (Principal)
Christopher Carson (Assistant Principal)
David DeRiso
Sarah Hogan Kaiser
Donald Martin
Ronald Moberly
Adam Anello**
Mary Reed**

HARP
Allegra Lilly (Principal)

FLUTES
Mark Sparks (Principal)
Andrea Kaplan (Associate Principal)
Jennifer Nitchman
Ann Choomack

PICCOLO
Ann Choomack

OBOES
Jelena Dirks (Principal)
Philip Ross (Acting Associate Principal)
Cally Banham
Xiomara Mass**

ENGLISH HORN
Cally Banham

CLARINETS
Scott Andrews (Principal)
Diana Haskell (Associate Principal)
Tina Ward
Tzuying Huang

BASS CLARINET
Tzuying Huang

BASSOONS
Andrew Cuneo (Principal)
Andrew Gott (Associate Principal)
Felicia Foland
Vincent Karamanov

CONTRABASSOON
Vincent Karamanov

HORN
Roger Kaza (Principal)
Thomas Jöstlein (Associate Principal)
Christopher Dwyer
Tod Bowermaster
Julie Thayer
Lawrence Strieby

TRUMPETS
Karin Bliznik (Principal)
Thomas Drake (Associate Principal)
Jeffrey Strong
Michael Walk
James Hynes #

TROMBONES
Timothy Myers (Principal)
Amanda Stewart (Associate Principal)
Jonathan Reycraft

BASS TROMBONE
Gerard Pagano

TUBA
Michael Sanders (Principal)

TIMPANI
Shannon Wood (Principal)
Thomas Stubbs (Associate Principal)

PERCUSSION
William James (Principal)
Alan Stewart (Associate Principal)
Thomas Stubbs
Henry Claude #
Zachary Crystal #

About this release

Blue Engine Records BE0017

Performed in 2018 by the Jazz at Lincoln Center Orchestra and the St. Louis Symphony Orchestra, conducted by maestro David Roberston, in front of a sold-out crowd in St. Louis’s Powell Hall

Thanks to snobb for the addition

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WYNTON MARSALIS JLCO WITH WYNTON MARSALIS AND ST. LOUIS SYMPHONY : SWING SYMPHONY reviews

Specialists/collaborators reviews

js
Certainly Wynton Marsalis has worn many different hats in his career as a musician, but possibly his strongest talent is as a classic 3rd stream composer, and his latest effort “Swing Symphony”, does much to bear this out. Much like Stravinsky and Ravel, Marsalis is a ‘natural composer’, that is to say, no matter how complex or complicated his music may get, it always seems to roll along as naturally as someone walking down the street whistling a favorite melody. This is an ambitious piece that strives to present the history of jazz in a concert hall setting, but don’t expect a dry history lesson, do expect some swingin music and plenty of hot solos backed by driving rhythmic accompaniment.

Much of “Swing Symphony” recalls that time period when jazz first met classical under the guidance of composers like Duke Ellington, George Gershwin, Darius Milhaud and others. In that respect this piece could be seen as ‘future retro’ in that it captures the modern tone of a certain era that manages to remain modern in appearance for all history, for instance, the always futuristic style known as art deco. In many ways, the more experimental music of the 20s and 30s is the art deco of the musical world. Wynton’s symphony does not stay in the 30s, but even as the presented musical styles move up to the late 20th century, its that early mix of classical and jazz that marks the overall tone of this piece.

Avoiding a laborious retelling of all the events in “Swing Symphony”, it is interesting to note some of the highlights. Before the symphony gets into jazz’s roots as ragtime, there is a brief opening section that recalls Ellington’s version of African music. Yes, it all starts with Africa, and I never doubted Wynton would start anywhere else. After this, the ragtime arrangements kick in and then there is a trumpet break, who is this, Buddy Bolden or Louie Armstrong or possibly a little bit of both. In the third movement of the symphony we find ourselves in the swing era and Wynton does a great job of capturing the sound of the Ellington saxophone section.

The fourth movement opens like a tribute to Dizzy Gillespie as we move from bebop to Afro-Cuban. A particularly melancholic saxophone melody closes out this movement and it is quite possibly a reference to the tragic downfall of one of jazz’s most prominent geniuses, Charlie Parker. As we move through the last three movements the music becomes more abstract and dissonant, often recalling Edgar Varese, Charles Ives, Leonard Bernstein, Aaron Copland and Gil Evans. Movement five features a modal hard bop jam in the style of Coltrane and Miles, and in movement six we get some rather brutish and clumsy rhythms, possibly a satirical jab at fusion. Movement seven brings back an African groove, this time existing halfway between the worlds of the Duke and Sun Ra with a dash of Stravinsky and the symphony closes out with a floating abstract return to swing.

“Swing Symphony” is one of those pieces that should gain strength through the ages and hopefully it will find its deserved place in the concert hall 3rd stream repertoire. Its easy to imagine a future symphonic program that might include Gershwin’s “Rhapsody in Blue”, Stravinsky’s “Ebony Concerto”, Ellington’s “Black, Brown and Beige’, and Marsalis’ swingin symphony.

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