Wynton Marsalis and JALCO at Hackney Empire

[rhythmaning]

A couple of weeks ago, Wynton Marsalis lead the Jazz At Lincoln Center Orchestra on stage at the esteemed Hackney Empire, bringing the sound of midtown Manhattan to the East End of London.

JALCO had been playing a series of gigs at the Barbican and elsewhere, together with a whole load of educational events, and their visit to the Hackney Empire marked the end of their London residency. The Barbican gigs, featuring different jazz styles each night and a host of local guests, sold out well in advance (I know cos I tried to get tickets…!).

The crowd seemed quite adoring of Wynton and the band, giving them a roaring cheer to welcome them onstage. This last gig was entitled “Modern Jazz Masters”, and Wynton promised music by Herbie Hancock, Wayne Shorter, and Jackie McLean. We didn’t get any Shorter, but lots of new compositions from members of the band interspersed with their arrangements of tunes by Hancock, McLean (an intricate arrangement of “Appointment in Ghana”), Joe Henderson and Thelonious Monk.

The orchestra was joined by Jean Toussaint on tenor sax (both he and Marsalis are graduates of the Jazz Messengers’ finishing school), pianist Julian Joseph, vibe player Jim Hart and vocalist Cleveland Watkiss. The calibre of the JALCO’s musicians is such that the guests could have seemed superfluous, but they were given a lot of space in the arrangements and all delivered. Cleveland’s vocal acrobatics sounded great against the orchestral backdrop, and Toussaint’s sax playing was in fine form, but for me Julian Joseph stood out: his playing brought an intensity that had been missing, creating solos which built the tension like many modern masters before him.

For all the excellent music on stage, it felt like something was missing. It was as if the orchestra was too reverent or too smooth: it needed some grit. The concert felt a little too worthy, too refined. The neither musicianship nor the arrangements could be faulted, but it needed more – a rougher edge, more risks; some East End grime to balance the midtown smooth.

Comments

[hoiho.livejournal.com]

Yes, that's exactly the problem with JALCO: too reverential to the material and the tradition. I saw them in Glasgow, and they do play a nice repertory of jazz, but the fire of the Messengers, of the Basie band (even in its last years) is missing. It's more Jazz at the Philharmonic than JatP ever was!

I saw Wynton with the Marsalis versions of the Messengers, and later with Herbie Hancock, back in the mid 80s, and he had far more spirit back then, he took more risks. Probably not as technically flawless as now (although very very close), but with far more meat and blood. Of course, the venues were small and sweatier back then.

Still a good night out, but I was, in the end, far more excited by the Tommy Smith Jazz Orchestra.

[rhythmaning.livejournal.com]

Did you see Euphbass' post on the JALCO gig in Glasgow (http://euphbass.livejournal.com/30772.html)? Apparently some of the audience felt like I did!

I have seen Wynton a number of times - including once with JALCO. Seeing his septet play "In This House On This Morning" in the Proms in 1990s was an amazing experience.

I think perhaps jazz that is too written isn't my thing - though I love the sound a large, anarchic big band!

Every time I see SNJO I am impressed. They were excellent at Gateshead this year - now I'm in London rather than Edinburgh, I don't get so many chances to hear them...

[hoiho.livejournal.com]

Yes, that's a fair assessment of the gig, which is coloured for me by the venue. The Royal Concert Hall is the worst sounding major venue in Glasgow. I've never been happy with a gig there, from Andreas Scholl to Runrig. I so wish it has been in the Fruitmarket, like last years's SNJO "Rhapsody in Blue" gig. I do wish he hadn't commented on the Quigley after-hours, as I had to miss it because of trains.

And when I said via the Tommy Smith Jazz Orchestra, I meant the Tommy Smith Youth Jazz Orchestra, a band of (apparently) 14 year olds, playing like seasoned pros, and not the SNJO, unfailingly excellent as they are[0]. To get school kids and students playing like that is, frankly, astonishing,and a shining tribute to Smiths's remarkably energetic and inspirational personality. I've never been taught by him, but one of my bass teachers was, and spoke of him in hallowed tones!

0] I never got round to writing up the SNJO gigs with Schofield earlier in the year, which were quite superb - I caught it twice, Edinburgh & Glasgow, and he reduced me to tears both times.

[rhythmaning.livejournal.com]

Apologies for assuming you meant SNJO! I have seen Tommy's youth orchestra a couple of times - I always find it slightly unnerving: such big sounds being created by such young people! Some of the youth players are just amazing - but I worry that they will burn out before they really reach maturity. I'm also not sure that one can expect young people to interpret such powerful, emotional music without the life exoerience to go with it. (Sorry to come across as reverse-ageist!)

I would have loved to see Sco with SNJO - though I'd have been a little worried to see how much-loved tunes ended up! If you can remember the set list, I'd be curious to see what they played.

[hoiho.livejournal.com]

I'm not sure about the age thin - after all, man of the greats started playing pro in their teens. The maturity of the solos
isn't quite there yet, but they're still learning, and it's the best way to learn.

Sadly, I seem to have lost the notes I made (at the Glasgow gig, in the RSAMD). The only tune I can now remember is a long version of Jean Pierre. The two sets were each Sco/Davis tunes, with the first being mostly Sco, the second mostly Miles.

[euphbass.livejournal.com]

I didn't see the TSYJO gig - I don't think I've ever seen them actually. I did see the Strathclyde Youth Jazz Orchestra at the NCBF regionals last year and they were very impressive too.

The SNJO gig was good, but I think I've heard them on better form actually. And it was surprisingly quiet. I wrote about that one here.

I think the venue makes a huge difference. By the sounds of it, the JALCO gigs were at very concert hall type venues for all of their tour, and that really influences the feel of the music and the feel people get about it, regardless of the playing. The GRCH is really not a jazz venue. It's very quiet too, I always think that when I'm there (I mean volume wise, not numbers, although it wasn't particularly busy either for a hall that size). The Fruitmarket would have been better, or maybe even the City Halls, I'm not sure.

I love the Fruitmarket, but I have heard it said that the atmosphere has not been the same since it was done up. Some say it's more formal and reserved now, and not the random "gig in a shed" feel it used to have! I'm not sure myself. I was thinking a bit about that here.

I do wish he hadn't commented on the Quigley after-hours

Sorry you missed all that! It was amazing :). Also, "she", not "he"!

[hoiho.livejournal.com]

The GRCH is a dreadful venue - the sound just drops to the floor a few rows beyond the apron. No reflections, no reverberations. Utterly dead. Nowadays, if I can catch a tour elsewhere I will.

I didn't catch the SNJO at the festival. I was conserving my ticket money for maximum value, and as I've seen the SNJO quite a lot recently, and also sat the premier of Torah with Lovano at the RSAMD, I sadly gave it a miss. I haven't heard the CD yet, either, but I'm looking forward to it.

(Sorry about the sex thing, it was a poor judgement call, based on the general sex of (a) jazz fans, and (b) bassists!).

[euphbass.livejournal.com]

based on the general sex of (a) jazz fans, and (b) bassists!

This is very true. I don't mind! In fact, I've been getting mistaken for a boy for as long as I can remember, especially growing up, because of having short hair an an aversion to skirts. A tighter top usually does the trick mind you...