The Philadelphia Orchestra Gives Jazz Audiences More To Enjoy With Its Performance Of Wynton Marsalis’ ‘Blues Symphony (Symphony No. 2)’

Courtesy: Blue Engine Records

Pulitzer Prize®-winning composer/trumpet player Wynton Marsalis has kept himself rather busy in the past couple of years or so with the Jazz at Lincoln Center Jazz Orchestra, composing and performing a variety of works with that collective.  As busy as all of that kept him it clearly was not enough to keep him from working on some other material in the process.  One of those compositions, Blues Symphony (Symphony No. 2) was performed live in 2019 by none other than the famed Philadelphia Orchestra.  Considered one of the “Big Five” American orchestras, the organization recorded its performance of Marsalis’ 64-minute opus at its “home,” in the Verizon Hall at the Kimmel Center for the Performing Arts.  The composition itself serves as one of this live recording’s positives.  It will be discussed shortly.  The group’s performance of the opus adds to the recording’s appeal and will be discussed a little later.  The recording’s production rounds out its most important elements and will also be discussed later.  Each item noted here is important in its own way to the whole of the recording.  All things considered, they make this presentation one more of this year’s best new live CD recordings.

The Philadelphia Orchestra’s live performance of Wynton Marsalis’ Blues Symphony (Symphony No. 2) is a presentation that every jazz fan will enjoy.  That is due in part to the composition itself.  According to information provided about the opus, it uses music to tell the story of America through not just jazz but the blues, too.  Beginning at its first movement, ‘Born in Hope,’ the seven-movement takes audiences through the nation’s revolutionary period, the rise of jazz in New Orleans, the so-called “Great Migration,” and to modern times.  While the composition is Marsalis’ own work, this is not the first time that Marsalis has taken part in an opus that tells a story.  During his time with the JLCO, Marsalis has also participated in works that tell the story of the 50s, the story of Dante’s timeless literary work, the Divine Comedy, and even of the Kansas City Jayhawks basketball team.  So this musical work is really old hat for Marsalis, so to speak.  To that end, the blending of the music and history (including musical history) here creates a firm foundation for the recording’s presentation.  It is just one part of what makes the recording successful.  The group’s performance of the composition builds on that foundation, adding even more appeal to the presentation.

The Philadelphia Orchestra’s performance of Blues Symphony (Symphony No. 2) is an important part of the presentation because of its role in the recording’s general effect.  The collective brings out so expertly, the influences of musicians, composers and sounds from so many other genres throughout.  Case in point is the performance of ‘Swimming in Sorrow,’ the composition’s second movement.  The movement in question clearly exhibits influences of George and Ira Gershwin.  Ther are certain clarinet runs that immediately conjure thoughts of the Gershwin brothers’ timeless composition, ‘Rhapsody in Blue.’  At other points in the 13-minute-plus song, the use of the trombone and other horns creates a sound and stylistic approach that is comparable to music from the brothers’ equally timeless work, Porgy and Bess.  At yet other points, comparisons to An American in Paris are just as possible.  What is important to note here is that for all of the noted influence, the group still successfully and expertly interprets the composition and gives it its own identity.  The transitions between the movement’s various sections are fluid, and ensure audiences engagement and entertainment in their own right.  The dynamic control that he musicians exhibit is just as powerful. 

On a completely opposite note, ‘Danzon y Mambo, Choro y Samba’ shows the importance of the group’s performance in its own right.  The organization so expertly blends elements of Afro-Latin and big band for this work.  The two are polar opposites but still manage to work so well together here.  The gentle, flowing string arrangement here crates beautiful harmonies alongside the flute in the opening bars.  As the song progresses, that blending of cultures and influences remains just as stable, neither side overpowering the other.  That is another tribute to the expert performance of all involved.  The musicians’ ability to interweave everything together here gives the song its own unique identity separate from anything else in the record.  It also continues to show what makes the collective’s performance so enjoyable and important to the record.

‘Southwestern Shakedown’ is yet another example of the importance of the performances presented throughout the recording.  The bluesy overtones that run throughout the performance are just as audible here as in any other point in the concert.  At the same time, the subtle use of the wood block and strings to create that “cowboy sound” is just enough to help give this song its own original sound and identity.  Interestingly enough, the Gershwin influence is just as evident here as in other points in the record.  The way in which the group blends the influences here makes for its own unique presence and performance.  When this performance is considered along with all of the others in the concert, the whole makes clear the importance of this element.  It makes for that much more appeal to the overall presentation and is still not the last of the recording’s most important elements.  The concert’s production rounds out its most important elements.

The production of this concert recording is important to address because it is, again, a live concert recording.  It is clear in listening through this concert, that those responsible for the show’s production did their jobs just as expertly as the performers.  The sound balance was near perfect throughout.  The airy echo of the instruments is just subtle enough to ensure audiences know that hey are listening to a live recording without allowing the sound to be too airy (and yes, that does happen on recordings, believe it or not.  It is rare, but it happens.)  Meanwhile, the handling of the balance of the instruments themselves is just as impressive.  The instruments compliment each other throughout thanks again to the work put in on site and in post production.  Keeping these aspects in mind, the recording’s production proves just as important to its presentation as the approach to the composition and the performance thereof.  When all three elements are considered together, they make the recording in whole another enjoyable offering from Wynton Marsalis and another of this year’s top new live CD recordings.

The Philadelphia Orchestra’s performance of Wynton Marsalis’ opus, Blues Symphony (Symphony No. 2) is an impressive new addition to this year’s field of new live CD recordings.  It is a presentation that Marsalis’ fans and jazz fans in general will enjoy.  That is proven in part through the approach to the composition.  The approach in question is a musical story of America’s history and culture.  That includes the nation’s musical culture.  The orchestra’s performance of the composition adds its own layer of appeal to the presentation.  That is because of its ability to so expertly interpret the symphony’s dynamics, notations, and general effect.  The recording’s production brings everything full circle and completes the recording’s presentation.  It ensures the recording’s audio enhances the listening experience, too.  Each item noted is important in its own way to the whole of the recording.  All things considered, they make the recording another successful offering from Marsalis and one of the year’s top new live CDs.

Blues Symphony (Symphony No. 2) is available now.  More information on this and other titles from Blue Engine is available at:

Website: https://jazz.org

Facebook: https://www.facebook.com/blueenginerecords

Twitter: https://twitter.com/blueenginejazz

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Jazz At Lincoln Center Septet’s New Record Is 2021’s First Great Live CDs

Courtesy: Blue Engine Records

Less than a year after the release of its live recording The Ever Fonky Lowdown, members of the Jazz at Lincoln Center Orchesta are set to return this week with a new socio-politically charged recording in the form of The Democracy! Suite.  This time presented by a smaller collection of musicians – dubbed the Jazz at Lincoln Center Septet – the recording is no less entertaining and engaging than its predecessor.  That is due in part to the recording’s featured arrangements.  This will be discussed shortly.  The sequencing thereof adds its own touch to the album’s presentation.  This element will be discussed a little later.  The record’s production puts the final touch to its presentation and will also be addressed later.  All three items noted here are important in their own way to the whole of The Democracy! Suite.  All things considered, they make the album another enjoyable offering from the members of the Jazz at Lincoln Center Orchestra.

The Jazz at Lincoln Center Septet with Wynton Marsalis’ latest recording The Democracy! Suite is another welcome new offering from the members of the Jazz at Lincoln Center Orchestra.  Additionally, it is a welcome follow-up to its predecessor, The Ever Fonky Lowdown.  That is proven in part through the eight total arrangements that form the record’s body.  Much as was the case with the arrangements featured in The Ever Fonky Lowdown, the arrangements featured in this record are meant to reflect the socio-politically charged themes of the songs.  One of the most notable of this recording’s entries comes early in its 44-minute run in the form of ‘Ballot Box Bounce.’  The song’s upbeat arrangement is a great musical representation of the energy that flowed through Americans this year as they headed to the polls and even voted early by absentee ballot.  The energy is so light.  It conjures thoughts of works crafted by Vince Guaraldi for the beloved Peanuts TV specials, what with its light, bouncy piano line, flute, muted trumpet and brushes on the snare.  Considering the excitement that people seem to have had in being interviewed about taking part in the electoral process this year, the high but controlled positive energy exuded by the group here does well to translate that energy to this format.

‘Deeper Than Dreams’ is another standout addition to JLCS with Wynton Marsalis’ latest recording.  To what the song’s title is referring is anyone’s guess.  However, knowing that this record in whole is meant to reflect the thoughts and feelings that we have all dealt with over the past four years, one has to assume with relative certainty that it is meant to reflect the sadness that we have so often felt through everything.  To that end, the more reserved, bluesy sense exuded in this composition is a wonderful reflection of those emotions and thoughts.  From dealing with the latest issues brought on by COVID-19, to just the depression of hearing the Republican rhetoric on a daily basis (especially from the soon to be former President), to so much more, the music here reflects so well Americans’ feelings.  The controlled dynamics from the saxophone and the percussion and the subtle backing of the trumpet creates such rich emotion.  The picture that the group paints with this song is one of people dreaming beyond dreaming about times being better.  It is such a powerful piece in that richness.

That’s When All Shall See’ is a well-placed addition to JLCS’ new recording.  The almost sarcastic tone in the song’s upbeat arrangement, complete with tambourine and horns, infers a certain sense of overcoming all the negativity that has flooded this nation (and world) since 2016.  Considering the song’s title, “That’s When All Shall See,” it’s as if this song is echoing people saying, the day will come when people will finally see the light and the reality of things, and as a result, things will finally change.  Simply put, being the recording’s closer, it leaves listeners with a sense of hope.  Considering that we as a nation are finally seeing the end of the Trump administration and hopefully all of the damage that it has caused, it would seem that the noted time in which people would see is in fact here.  To that end, that the album closes with this song and that the album drops only days before Biden and Harris are elected, it is just one more example of how this recording’s arrangements make for so much enjoyment in this presentation.  When it is considered with the rest of the recording’s arrangements, that whole forms a strong foundation for this recording.  That foundation is just one level of what makes the recording work as well as it does.  The sequencing of the record’s featured arrangements adds even more to that appeal.

The Democracy! Suite starts out in upbeat fashion in ‘Be Present.’  The energy in that song would seem to echo the sense of urgency in the calls to action last year to stand up to everything that the Trump administration (and GOP) had put against America.  From there, the record’s energy pulls back slightly in ‘Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters).’  The song’s title is self-explanatory, and the sense of controlled frustration does well to echo what the African-American community must have felt building up to last year’s protests.  It makes for a good contrast to the record’s opener, in terms of energy and an equally interesting contrast to the energy in ‘Ballot Box Bounce,’ the album’s next song.  From there, the energy gradually pulls back even more over the course of the next two songs before picking up again in ‘Out Amongst The People (for J Bat).’  ‘It Come ‘Round ‘Gin’ pulls the record’s energy back again, but only partially.  The song does pick up again as it progresses through its nearly six-minute run time.  That energy carries on through to the album’s closer, leaving listeners feeling very good.  Looking back through the album in terms of its sequencing, it is clear that the sequencing balances the record’s energy expertly from start to end.  The energy rises and falls just enough at all of the right points throughout the album, ensuring that together with the songs themselves, listeners have even more to appreciate here.  It is just one more aspect of the record that audiences will appreciate.  The production that went into the record rounds out its most important elements.

Whether the song is upbeat and energetic or more reserved and slow, each work featured in this record has a lot going on.  Between the horns, the percussion and even at times woodwinds, there is a lot going on in each song.  A slower song, such as ‘Deeper Than Dreams’ required the utmost attention because of how simple the song is.  Those behind the boards had to fully control the dynamics, so as to bring out the most emotion.  The work put in there paid off, too.  On the other end of the spectrum is a song, such as ‘Ballot Box Bounce.’  This light, upbeat work involves a lot of moving parts.  There is a piano line.  There is a flute line.  There are horns.  There is a light percussion line.  That means that a different attention had to be paid to balancing the instrumentation and even the dynamics.  Again the production paid off, as it accomplished the noted goals.  Between these two songs and the production that went into the rest of the record, the result is a record that sounds so good from beginning to end.  All of the performers get their moment in the light and none of the instruments outplay the others.  It creates a positive aesthetic that listeners will enjoy just as much as the songs themselves and their sequencing.  When all three items are considered together, the result is a record that JLCO’s fans will appreciate just as much as any jazz fan in general.

The Jazz at Lincoln Center Septet with Wynton Marsalis’ new recording The Democracy! Suite is a positive new outing for the smaller unit of musicians from the Jazz at Lincoln Center Orchestra.  Its featured arrangements do so well to illustrate the thoughts and emotions evoked by the song’s titles.  The sequencing of the noted arrangements does its own share to keep listeners engaged and entertained.  That is because the sequencing ensures the energy in the arrangements is balanced throughout.  It rises and falls at all of the right moments and for the right amount of time.  The production that went into the record’s creation rounds out its most important elements.  It ensures that the unit in whole is balanced in its performance, with no one performer overpowering the others at any point and the emotions in the songs well-translated.  Each item noted is important in its own way to the whole of the recording.  All things considered, they make the recording in whole the year’s first great live CD.  The Demoracy! Suite is scheduled for release Friday through Blue Engine Records.

More information on this and other titles from Blue Engine Records is available online at:

Website: http://jazz.org

Facebook: http://www.facebook.com/blueenginerecords

Twitter: http://twitter.com/blueenginejazz

More information on JLCO is available along with all of its latest news at:

Website: http://jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Audiences Of All Ages Will Enjoy JLCO’s New Musical Tribute To ‘Sesame Street’

Courtesy: Blue Engine Records

PBS and the Jazz at Lincoln Center Orchestra with Wynton Marsalis partnered last year to pay tribute to the beloved children’s series Sesame Street.  The concert, dubbed A Swingin’ Sesame Street Celebration was part of the ongoing celebration of the series’ 50^th anniversary.  With any luck, audiences will eventually be able to own the concert in full on DVD and/or Blu-ray.  Unless or until that happens, audiences can enjoy the concert in an exclusive audio presentation thanks to Blue Engine Records.  The show’s set list is in itself more than enough reason to take in this performance.  It will be addressed shortly.  The performance thereof adds even more enjoyment to the concert and will be discussed a little later.  The concert’s production rounds out its most important elements and will be discussed later.  Each noted item is important in its own way to the whole of the recording.  All things considered, the recording proves to be a presentation that audiences of all ages will enjoy, whether they are fans of jazz, Sesame Street or the Jazz at Lincoln Center Orchestra with Wynton Marsalis.

The Jazz at Lincoln Center Orchestra’s new musical tribute to Sesame Street, which was clearly recorded prior to the outbreak of the COVID-19 pandemic is a wonderful presentation.  It is a work that will appeal to a wide range of listeners.  That is proven in part through the concert’s set list.  The 13-song set list plays out like a musical history lesson about Sesame Street.  That is because the featured songs are from the series’ formative years, going all the way back to 1969 – when the series debuted – and all the way up to 1989.  There is also one song from 2006 added in for good measure.  For the most part though, the song’s set list features songs that, like Rena Strober’s recently released album Imagine That, largely pays tribute to the work of Joe Raposo and Jeff Moss.  Case in point are songs, such as the series’ theme song (Joe Raposo), ‘Rubber Duckie’ (Jeff Moss), ‘One Of These Things’ (Joe Raposo), ‘I Don’t Want To Live on the Moon’ (Jeff Moss), ‘People in Your Neighborhood’ (Jeff Moss), ‘Believe in Yourself’ (Joe Raposo), and ‘Sing’ (Joe Raposo).  Simply put, more than half of the songs featured in this set list were crafted by the famed composers and songwriters.  The other featured songs were written and composed by others, so in reality, there is a clear tribute to the work of Raposo and Moss.  Whether that was intentional is anyone’s guess.  Regardless, the picture painted by this set is sure to appeal to plenty of audiences simply because it takes audiences back to Sesame Street’s golden age.  This is just one part of what makes this recording so enjoyable.  The performance of said set list adds even more enjoyment to the recording’s presentation.

The performance of the noted set list is so enjoyable because it is not just a bunch of song performances.  Big Bird, Elmo, Rosita, The Count, Grover, and other beloved Sesame Street characters take part in the performances, adding to their richness.  Sure, the introductory moment for each performance was scripted with some feeling a little bit forced, most of those introductory moments felt so natural.  Case in point was Grover’s introduction as Super Grover ahead of ‘Believe in Yourself.’  Audiences got to see him “fly” onto the stage before sharing a little dialogue with one member of the orchestra.  Grover’s presence and his dialogue with the noted musician is certain to leave audiences smiling and laughing.  The very performance of the song adds even more to the moment.

Another notable moment in which the performance shines is in that of ‘I Don’t Want To Live on the Moon.’  Ever since its initial performance on television so many decades ago, the song has been a gentle lullaby.  Every time it has been covered, it has maintained that gentle tone, too.  In the case of its performance here though, it has a more upbeat yet controlled presence.  In other words, while it is not quite the lullaby style work that it has come to be known as over the years, that element is still there.  The balance of the old and new makes this moment one of the concert’s most notable highlights.

Yet another memorable moment that makes the concert’s overall performance so enjoyable comes early on in the performance of ‘Sing After Me.’ Abby Cadabra and Big Bird join the orchestra for this light hearted performance.   The chemistry between the Muppet performers and the musicians is so clear as Abby and Big Bird try to learn about scatting in their discussion with Marsalis.  The duo’s interaction with the audience throughout the song, as they get everyone to sing along makes for even more enjoyment.  It is just one more moment that shows the strength of the group’s performance of the set list.  When it is considered along with the rest of the enjoyable performance and the et list itself, the two items give audiences more than enough reason to take in this concert recording.  The set list and the performance thereof are only a portion of what makes this recording so enjoyable.  The production thereof puts the finishing touch to its presentation.

The production of A Swingin’ Sesame Street Celebration adds its own impact because it takes into account every audio aspect of the performance.  What’s more the visual aspect was also taken into account.  Those who watched the pre-taped performance got the best seat in the house, going high above the audience and up on stage with the group.  The camera transitions (fades in TV terminology) are smooth and well-paced.  They help give a full, rich picture.  The audio is just as well-balanced, especially considering the size of the concert hall.  Each performer (musician and puppeteer) was adequately mic’d up and equally well-balanced.  At the same time, the audience noise was just as audible without any element being too airy.  The result of all of the attention to detail in the production (both during and post) results in a presentation that is just as enjoyable for its audio and visual aspects as for its primary content.  All things considered, the  Jazz at Lincoln Center Orchestra’s Swingin’ Sesame Street Celebration proves to be a fully enjoyable musical tribute from a great musical collective to an equally great television series.

The Jazz at Lincoln Center Orchestra’s new concert recording A Swingin’ Sesame Street Celebration is a completely enjoyable new live offering that the whole family will enjoy.  It is another great tribute to Sesame Street and its legacy.  That is proven in part through the concert’s featured set list.  The set list largely pays tribute to the work of Jeff Moss and Joe Raposo on the long-running series.  The performance thereof adds its own enjoyment and appeal to the presentation.  That is because the performance is more than just a bunch of songs.  There is actually more to the performance, as audiences will learn for themselves.  The production (during and post) puts the finishing touch to the recording.  That is proven as it sounds and looks wonderful.  Each noted item is important in its own way to the whole of this recording.  All things considered, the noted items make A Swingin’ Sesame Street celebration one more of this  year’s top new live CDs and family music albums.  With any luck the folks at Sesame Workshop will eventually release it on DVD and Blu-ray so that audiences can get the full experience.

More information on Jazz at Lincoln Center’s A Swingin‘ Sesame Street Celebration concert is available along with all of the group’s news at:

Website: http://jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

More information on Sesame Street is available along with all of the series’ latest news at:

Website: http://www.sesamestreet.org

Facebook: http://www.facebook.com/SesameStreet

Twitter: http://twitter.com/sesamestreet

More information on Sesame Workshop is available online now at:

Website: http://www.sesameworkshop.org

Facebook: http://www.facebook.com/SesameWorkshop

Twitter: http://twitter.com/sesameworkshop

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

JLCO’s Reveals Track Listing For New ‘Sesame Street’ Musical Tribute

Courtesy: Blue Engine Records/Sesame Worshop

The Jazz at Lincoln Center Orchestra with Wynton Marsalis will release its next live recording Friday.

The organization is scheduled to release its new recording Jazz at Lincoln Center Presents: A Swingin’ Sesame Street Celebration digitally, the same day that the performance will air on PBS stations nationwide. The hour-long presentation was recorded in front of a sold-out audience at the Jazz at Lincoln Center’s Rose Theater and is scheduled to broadcast at 9 p.m. ET on Oct. 30 on PBS stations across the country.

The forthcoming concert broadcast will air in collaboration with Sesame Workshop, the nonprofit behind Sesame Street.

The JLCO performed a variety of classic Sesame Street songs, such as ‘Rubber Duckie,’ ‘I Don’t Want To Live on the Moon,’ and ‘People in your Neighborhood’ during the concert.  Famous Sesame Street residents, such as Big Bird, Oscar the Grouch, Elmo, and the duo of Bert & Ernie joined the band to perform the concert’s extensive set list, which is noted below.

TRACK LISTING

1. Sesame Street Theme

Sesame Street Inc. (ASCAP) / Stage Harbor Publishing (ASCAP)

Written by Joe Raposo, Jon Stone, and Bruce Hart

Arranged by Kenny Rampton

Featuring: Matthew Vogel (Big Bird), Ryan Dillon (Elmo), Leslie Carrara-Rudolph (Abby Cadabby)

2. Rubber Duckie

Festival Attractions Inc. (ASCAP)

Written by Jeff Moss

Arranged by Chris Crenshaw

Featuring: Peter Linz (Ernie)

3. It Feels Good (When You Sing a Song)

Sesame Street Inc. (ASCAP)

Written by Sam Pottle and George James

Arranged by Marcus Printup

Featuring: Chris Thomas Hayes (Hoots the Owl), Ryan Dillon (Elmo)

4. Sing After Me

Sesame Street Inc. (ASCAP)

Written by Sam Pottle and Tony Geiss

Arranged by Victor Goines

Featuring: Leslie Carrara-Rudolph (Abby Cadabby), Matthew Vogel (Big Bird)

5. One of These Things

Stage Harbor Publishing (ASCAP)

Written by Joe Raposo and Jon Stone

Arranged by Sherman Irby

Featuring: Eric Jacobson (Oscar the Grouch), Peter Linz (Herry Monster), Carmen Osbahr-Vertiz (Rosita)

Solos: Kenny Rampton (trumpet), Marcus Printup (trumpet), Elliot Mason (bass trumpet), Janelle Reichman (tenor saxophone), Victor Goines (tenor saxophone), Chris Crenshaw (trombone)

6. Elmo’s Song

Sesame Street Inc. (ASCAP) / Ephemeral Music Co. (ASCAP)

Written by Tony Geiss

Arranged by Kenny Rampton

Featuring: Ryan Dillon (Elmo)

Solo: Wynton Marsalis (trumpet)

7. I Don’t Want to Live on the Moon

Festival Attractions Inc. (ASCAP)

Written by Jeff Moss

Arranged by Wynton Marsalis

Featuring: Peter Linz (Ernie), Leslie Carrara-Rudolph (Abby Cadabby), Matthew Vogel (Big Bird)

Solos: Victor Goines (clarinet), Elliot Mason (trombone), Sherman Irby (alto saxophone), Wynton Marsalis (trumpet)

8. Put Down the Duckie

Splotched Animal Music Co. (BMI) / Sesame Street Inc. (ASCAP)

Written by Christopher Cerf and Norman Stiles

Arranged by Carlos Henriquez

Featuring: Peter Linz (Ernie), Chris Thomas Hayes (Hoots the Owl)

Solos: Ted Nash (alto saxophone), Sherman Irby (alto saxophone)

9. Ladybugs’ Picnic

Sesame Street Inc. (ASCAP)

Written by William Luckey & Don Hadley

Arranged by Sherman Irby

Featuring: Matthew Vogel (The Count), Leslie Carrara-Rudolph (Abby Cadabby), Carmen Osbahr-Vertiz (Rosita)

Solos: Wynton Marsalis (trumpet), Vincent Gardner (trombone)

10. People in Your Neighborhood

Festival Attractions Inc. (ASCAP)

Written by Jeff Moss

Arranged by Ted Nash

Featuring: Carmen Osbahr-Vertiz (Rosita), Ryan Dillon (Elmo), Matthew Vogel (Mr. Johnson), Leslie Carrara-Rudolph (Abby Cadabby)

11. Pinball Number Count

Sesame Street Inc. (ASCAP) / Ned Shatzer III Publishing (BMI)

Written by Walt Kramer & Ed Bogas

Arranged by Carlos Henriquez

Featuring: Matthew Vogel (The Count)

Solos: Wynton Marsalis (trumpet), Paul Nedzela (baritone saxophone)

12.Believe in Yourself

Green Fox Music Inc. (BMI) / Jonico Music Inc. (BMI)

Written by Joe Raposo

Arranged by Chris Crenshaw

Featuring: Eric Jacobson (Grover), Leslie Carrara-Rudolph (Abby Cadabby), Ryan Dillon (Elmo)

Solo: Sherman Irby (alto saxophone)

13. Sing

Green Fox Music Inc. (BMI)

Written by Joe Raposo

Arranged by Ted Nash

Featuring: Ryan Dillon (Elmo), Leslie Carrara-Rudolph (Abby Cadabby), Carmen Osbahr-Vertiz (Rosita), Chris Thomas Hayes (Hoots the Owl), Peter Linz (Ernie), Eric Jacobson (Bert), Matthew Vogel (Big Bird)

More information on Jazz at Lincoln Center’s upcoming concert is available along with all of the group’s news at:

Website: http://jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

More information on Sesame Street is available along with all of the series’ latest news at:

Website: http://www.sesamestreet.org

Facebook: http://www.facebook.com/SesameStreet

Twitter: http://twitter.com/sesamestreet

More information on Sesame Workshop is available online now at:

Website: http://www.sesameworkshop.org

Facebook: http://www.facebook.com/SesameWorkshop

Twitter: http://twitter.com/sesameworkshop

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

JLCO To Perform ‘Sesame Street’ Musical Special This Month

Courtesy: Jazz at Lincoln Center Orchestra With Wynton Marsalis

The Jazz a Lincoln Center Orchestra with Wynton Marsalis will pay tribute to Sesame Street this month.

Jazz at Lincoln Center Presents: A Swingin’ Sesame Street Celebration is scheduled to broadcast at 9 p.m. ET on Oct. 30 on PBS stations nationwide.  The hour-long presentation was recorded in front of a sold-out audience at the Jazz at Lincoln Center’s Rose Theater.

The band performed a variety of classic Sesame Street songs, such as ‘Rubber Duckie,’ ‘I Don’t Want To Live on the Moon,’ and ‘People in your Neighborhood’ during the concert.  Famous Sesame Street residents, such as Big Bird, Oscar the Grouch, Elmo, and the duo of Bert & Ernie joined the band to perform the concert’s extensive set list.

The forthcoming concert broadcast will air in collaboration with Sesame Workshop, the nonprofit behind Sesame Street.

More information on Jazz at Lincoln Center’s upcoming concert is available along with all of the group’s news at:

 

Website: http://jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

 

More information on Sesame Street is available along with all of the series’ latest news at:

 

Website: http://www.sesamestreet.org

 

Facebook: http://www.facebook.com/SesameStreet

 

Twitter: http://twitter.com/sesamestreet

 

 

More information on Sesame Workshop is available online now at:

 

 

 

Website: http://www.sesameworkshop.org

Facebook: http://www.facebook.com/SesameWorkshop

Twitter: http://twitter.com/sesameworkshop

 

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

JLCO’s Performance Of Duke Ellington Orchestra’s ‘Black, Brown & Beige’ Is Jazz Gold

Courtesy: Blue Engine Records

Blue Engine Records has been on a roll this year.  Two months into the still young year, the label has already released two more new live recordings from the Jazz At Lincoln Center Orchestra with Wynton Marsalis, continuing the ongoing series of recordings that it released last year.  That trend will continue next month when the label releases its latest JLCO recording Black, Brown & Beige.  Scheduled for release March 6, the nine-song recording is an important new release, as it presents the timeless recording from Duke Ellington and his orchestra, live in its entirety.  That presentation is just one of the items that makes the recording such an important new presentation from JLCO, and will be addressed shortly.  The orchestra’s performance of the recording adds even more engagement and entertainment to the recording’s presentation.  It will be addressed a little later.  The recording’s production and mixing rounds out its most important elements.  When it is considered along with the recording’s presentation and the group’s performance thereof, the whole of the recording proves to be one of this year’s best and most important live recordings.

The Jazz At Lincoln Center Orchestra’s forthcoming live performance of the Duke Ellington Orchestra’s timeless record Black, Brown & Beige is an important new offering from the group and from its label, Blue Engine Records.  That is due in part to its very presentation.  The presentation is so important because since Ellington and company originally debuted the performance in 1943 at Carnegie Hall, it rarely was performed live from that point on.  According to information presented about that history, after performing it at Carnegie Hall and at Rye High School in Westchester County, NY, Ellington and his orchestra never performed the opus in whole again.  Allegedly, Ellington said the reason for that was that he felt it was too long and that “too few people are familiar with the story” behind the recording.  The story in question behind the song is what is meant to be a unique African-American history.  Called by Marsalis, a recording that “sits alone in the history of Jazz,” few if any full presentations of this landmark composition have ever seen the light of day from Ellington and any other act.  To that end, having the 48-minute performance presented in whole for the first time in a very long time makes this recording quite valuable in itself.  It is just one part of what makes this presentation of Black, Brown & Beige so important and impressive.  The orchestra’s performance of the composition is key in its own right.

The orchestra’s performance of Brown, Black & Beige is important because it is that performance that does such a good job of helping to tell the story that Ellington originally intended to tell with the expansive work.  Brianna Thomas’ vocals on ‘Blues Theme Mauve,’ for instance goes such a long way toward exhibiting the life of the African-American during the early portion of the 20^th century.  Her vocal delivery presents such pain that translates so well.  The third movement of the composition opens with the fully-energetic ‘Various Themes’ that shows in itself the changes that African-Americans were going through as America grew and changed.  The contrast of the song’s energetic opening and its more subdued second movement – those subtle horn and piano lines – does so much to show that change.  By comparison, the melancholy of ‘Come Sunday’ early on in the opus’ first movement evokes its own share of emotion, especially as it presents a very brief show of ‘Swing Low, Sweet Chariot.’  Violinist Eli Bishop’s performance adds to this work to add even more impact to the song and overall performance.  It’s just one more way in which the overall performance proves so pivotal to the whole of this presentation.  When that performance in whole is considered along with the record’s very presentation, that whole goes a long way to show why the recording is such a welcome addition to any jazz aficionado’s music library.  They are not the only key elements to examine, either.  The record’s production and mixing round out its most important elements.

The production and mixing that went into Black, Brown & Beige is so important to note because without that work, the end product would not even be worth consideration.  Considering that this is another live recording from JLCO, that work becomes even more important to note.  That is because the sound balance between the musicians and their impact within the given venue – in this case, the Rose Theater – has to be considered even more than sound balance in a studio setting.  Those behind the production and mixing are to be commended for their work just as much here as in JLCO’s previously released live recordings.  The horns and percussion are expertly balanced with one another, as are the woodwinds with the rest of the orchestra.  When Thomas’ vocals are added in during the very subtle ‘Blues Theme Mauve,’ her tone resonates so richly with the rest of the orchestra.  The drums that open the recording in ‘Work Song’ are just as controlled in their presentation against the rest of the orchestra, as another example of the payoff of the production and mixing.  That example, considered with the other examples noted here and so much more, it becomes clear that the time and effort that went into the recording’s production paid off and then some.  Keeping this in mind as one examines the record’s presentation and the group’s performance of said presentation, the whole of Black, Brown & Beige proves to be jazz gold.

Jazz At Lincoln Center Orchestra With Wynton Marsalis’ latest live recording Black, Brown & Beige is another enjoyable offering from the organization.  That is due in part to the fact that Ellington and his orchestra’s timeless work has so rarely been presented in full either in studio or in live setting.  This presentation is one of the very rare moments in which it has been presented in full since its 1943 debut at Carnegie Hall.  That alone makes it an important recording.  The performance of the opus by the collective fully pays tribute to the original composition and those who performed said work.  The production and mixing that went into creating the final product puts the finishing touch to the recording.  Each item noted here makes the recording well worth owning by any jazz aficionado.  All things considered, they make Black, Brown & Beige jazz gold.  It will be available March 6 through Blue Engine Records.  More information on this and other titles from Blue Engine Records is available online at:

 

 

 

Website: http://jazz.org

Facebook: http://www.facebook.com/blueenginerecords

Twitter: http://twitter.com/blueenginejazz

 

 

 

More information on JLCO is available along with all of its latest news at:

 

 

Website: http://jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

 

 

 

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

JLCO, Irby’s ‘Inferno’ Burns In The Best Way Possible

Courtesy: Blue Engine Records

When Dante Alighieri published his timeless epic poem “Divine Comedy” in the 14^th Century, that work became the source of so many fire and brimstone sermons by preachers across the Christian world.  That is due especially to the poem’s opening segment, “Inferno.”  It has also been the source for so many moviemakers and even musical artists and composers.  The thing is that each of the adaptations of Alighieri’s epic poem have been equally foreboding.  Enter the Lincoln Center Jazz Orchestra with Wynton Marsalis.  The group’s recently released album, helmed by one of its own – Sherman Irby – is a take on Alighieri’s poem that is unlike any adaptation of that poem that has ever been crafted.  That is exhibited through the live recording’s overall arrangement, which will be addressed shortly.  The group’s very performance of the presentation is just as noteworthy as the presentation of the songs.  It will be discussed a little later.  The recording’s production adds the finishing touch to the recording’s presentation.  It will be addressed later, too.  Each item noted here is critical in its own right to the whole of Inferno.  All things considered, they make Inferno yet another of the year’s top new live CDs, along with the group’s prior release, The Music of Wayne Shorter.

The Jazz at Lincoln Center Jazz Orchestra [JLCO] with Wynton Marsalis’ latest live recording Inferno is one of the most intriguing adaptations of the opener from Dante Alighieri’s epic poem that has ever been crafted since its initial publication in the 14^th century.  That is due in part to the recording’s arrangement, which forms its foundation.  While Alighieri’s literary work is a dark, foreboding presentation that has been the fodder for so much fire and brimstone in the Christian world, the group’s work featured here is anything but that dark, foreboding story.  Rather, it is a much more upbeat presentation that, despite that more positive feeling and sound, still manages to work with Alighieri’s original work.  ‘Overture: Lost,’ the recording’s opener, works in line with the two Cantos that open “Inferno.”  Audiences can almost see Virgil talking with Alighieri about helping him on his journey.  ‘House of Unbelievers,’ the performance’s second entry, opens with a full horn flourish and maintains a certain energy throughout its five-minute-plus run time even in its more subtle moments.  One could argue that said song is the beginning of Dante’s journey through the nine circles.  ‘Hunger’ perhaps echoes perhaps Dante’s journey through the third circle, “Gluttony.”  As the performance progresses, audiences can just as easily make the connection between specific portions of “Inferno” and Alighieri’s work.  Again, at no point does the performance present any sense of foreboding, completely unlike the poetic work.  This leads into the second of the recording’s most notable elements, the organization’s performance of the show.

The performance of the Jazz at Lincoln Center Orchestra’s members throughout the course of this recording is what makes each portion of this musical tale so engaging.  The subtleties in the performance of ‘The City of Dis’ is just one example of the importance of the musicians’ performances.  The Middle Eastern sounds presented by the group creates a certain “mysterious” feel in the song that ensures listeners’ engagement.  The oftentimes manic energy in ‘Beware The Wolf and the Serpent’ does a good job of musically illustrating Dante’s emotions in Canto XXV.  This is just one more point at which the musicians’ collective talents show the importance of their work in this performance.  Between the moments noted here and the rest of the performances throughout, it goes without saying that the group’s collective performances add so much depth to the overall presentation of Inferno.

For all of the depth and substance that the musicians’ performances add to Inferno, one would be remiss to ignore the work put into the recording’s production.  Keeping in mind that this, like JLCO’s other recordings, is a live production, much time and effort had to be put in to complete the presentation.  The work put in by all concerned made the final production just as enjoyable for its aesthetics as for its content.  At no point do any of the musicians overpower one another.  Each channel is balanced expertly with the others throughout.  The final result is a work that sounds good and is good all the way around.  Keeping this in mind, Inferno proves itself to be another positive live offering from JLCO that audiophiles and bibliophiles alike will enjoy.

Jazz at Lincoln Center Orchestra’s new live recording Inferno is another positive addition to this year’s list of top new live CDs.  It is a unique presentation that is unlike any adaptation of Dante’s “Inferno” that has ever been released.  It takes the timeless work and gives it a whole new life and identity through its compositions.  The group’s musicianship builds on the foundation formed through the compositions, adding to the recording’s engagement and entertainment.  The recording’s production keeps listeners engaged as it balanced every single line throughout the concert.  Each item noted is important in its own way to the whole of this recording.  All things considered, they make Inferno a work that jazz fans will enjoy and a work that is another of the year’s top new live CDs.  More information on this and other titles from the Jazz at Lincoln Center Orchestra is available online at:

 

 

 

Website: http://www.jazz.org

Facebook: http://www.facebook.com/jazzatlincolncenter

Twitter: http://twitter.com/jazzdotorg

 

 

 

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

New Wayne Shorter Performance Among Four New Albums Due Out In 2020 From Blue Engine Records

Courtesy: Blue Engine Records

Blue Engine Records will release open the new year with four new jazz recordings.

The label will open the new year with the release of Inferno, the new album from saxophonist Sherman Irby.  The album was inspired by Dante Alighieri’s poem by the same name.  It is scheduled for release Jan. 17.

The Music of Wayne Shorter follows the release of Inferno on Jan. 31 from the Jazz at Lincoln Center Orchestra w/ Wynton Marsalis.  The 10-track recording finds the famed saxophonist performing some of his greatest songs alongside the JLO, such as ‘Yes Or No,’ ‘Endangered Species’ and Teru.’  The album was recorded live in 2015 at the Jazz at Lincoln Center.

Pre-orders for The Music of Wayne Shorter open Dec. 27. Marsalis spoke highly of Shorter in a recent interview about the forthcoming release.

“Wayne Shorter is at the highest level of our music — You can’t get any higher than him,” he said.  “Everybody strives to have a personal sound.  Wayne’s sound is definitive.”

The Jazz At Lincoln Center Orchestra takes on the music of legendary composer/musician Duke Ellington Feb. 28 with the release of Black, Brown and Beige.  The album’s release marks the first time that Marsals has taken on Ellington’s famed musical masterpiece.

As spring nears, Blue Engine will release one more album to open the first part of the year. The Ever Funky Lowdown is scheduled for release March 6.  The record, which is meant to be a commentary on modern culture and society, features narration by famed actor Wendell Pierce and guest vocals from Camille Thurman, Ashley Pezotti and Christie Dashiell.

More information on these and other titles from Blue Engine Records is available online now at:

 

Website: http://jazz.org

Facebook: http://www.facebook.com/blueenginerecords

Twitter: http://twitter.com/blueenginejazz

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

 

 

Jazz At Lincoln Center Orchestra’s New Family Music Album “Directs” The Way In This Year’s Top Family Music Albums List

Courtesy: Blue Engine Records/Jazz AT Lincoln Center

Family Music, otherwise known to most audiences as children’s music, is one of the most underrated genres in the musical universe.  The genre often-times gets a very bad reputation due to stereotypes created by audiences who are less educated than others about said genre.  Those who are more educated know that the world of Family Music offers perhaps more variety and originality than any mainstream genre.  The variety of albums released in this year’s field of Family Music albums clearly supports that statement.  From the Lincoln Center Orchestra performing its own surprisingly enjoyable takes on classic children’s songs, to the distinct presentation of Paul Winter Consort to even a Backstreet Boy’s own unique Family Music debut, this year’s field of new Family Music records has proven once again that said genre deserves far more respect than it gets.  That is why Phil’s Picks does its best each year to delve into that genre.

The Lincoln Center Orchestra tops this year’s list of new Family Music albums with its new recording Jazz For Kids.  It is just one of the interesting releases this year that the whole family will enjoy.  The Paul Winter Consort’s latest album can be considered not only Family Music, but possibly even World Music in its own right.  Former Backstreet Boy Howie D. offered one more of the year’s biggest surprises with his debut Family Music album, making it worthy in its own right on addition to this year’s list of top new Family Music albums.  It is joined by many others.  In fact, the list features the 10 top new Family Music albums along with five honorable mentions for a total of 15 titles.  noting again the variety of content featured across the Family Music genre, it made arranging this list anything but easy, but the final list here is that final choice.  Without any further ado here is this year’s Phil’s Picks Top 10 Family Music Albums.

 

PHIL’ PICKS 2019 TOP 10 FAMILY MUSIC ALBUMS

1. Jazz at Lincoln Center Orchestra With Wynton Marsalis — Jazz For Kids
2. Thank You, Mr. Rogers — Music & Memories
3. Diana Panton — A Cheerful Little Earful
4. Paul Winter Consort & Friends — Everybody Under The Sun: Voices of Solstice — Volume 1
5. The Shazzbots — Light Speed
6. Howie D. — Which One Am I?
7. Dog on Fleas — I’m An Optimist
8. Johnette Downing with Scott Billington — Swamp Romp
9. Moozika! — Moove to the Mouzika
10. Sharon & Bram: Sharon & Bram and Friends
11. Parker & Alexander — All Of Us: Bible Songs For Everyone
12. Jesse Jukebox — Awesome
13. The Laurie Berkner Band — Waiting for the Elevator
14. Camille Harris — Baby on the Subway
15. Again Again — Listen Love Repeat

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Adults Will Enjoy ‘Jazz For Kids’ As Much As Children

Courtesy: Blue Engine Records/Jazz AT Lincoln Center

The Jazz At Lincoln Center Orchestra with Wynton Marsalis has been in the headlines quite a bit this year, having released two new compilation albums – one a group of songs that interpret well-known paintings and the other a collection of holiday music performances.  Just last week, the group displayed its wide-ranging talents even more when it released its new family music album Jazz For Kids.  The 10-song record is yet another enjoyable offering from the musical collective in that it shows jazz and family music may not be as far from one another as one might think and that in fact both genres can be enjoyed just as much by one age group as the other.  The compilation’s opener, ‘Baa Baa Black Sheep’ goes a long way to support that statement.  The beloved Muppets tune ‘Mah Na Mah Na’ does just as much as the album’s opener to achieve that success.  The same can be said of ‘I Like To Take My Time.’  All three songs exemplify in their own way why this record is such an enjoyable work for listeners of all ages.  When they are considered alongside the rest of the record’s offerings, the whole becomes a record that is one more of this year’s top new Jazz & Blues albums as well as one more of the year’s top new Family Music albums.

The Jazz At Lincoln Center Orchestra With Wynton Marsalis has produced in its new compilation Jazz For Kids, a record that is an enjoyable work not just for kids, but for older listeners as well.  It shows that the worlds of family music and jazz may not be as far from one another as many listeners might think.  The record’s opener, ‘Baa Baa Black Sheep’ is just one of the songs featured in this record that supports the noted statements.  The song opens with members of the group using muted trumpets to mimic – almost perfectly – the sound of sheep calling.  That brief introduction gives way to a catchy, bluesy arrangement featuring a walking bass line that forms the arrangement’s backbone, which is itself complimented by a piano line, trumpet, occasional saxophone solo and drums.  What is so interesting in this simple grouping of musicians is that while the song is meant to be a new take on a classic children’s tune, the song develops its very own identity through its arrangement.  The end result is a song that stands just as strongly on its own musical merits as it does on the fact that it is a cover of a kids’ tune.  This kind of approach, is of course nothing new for the Jazz At Lincoln Center Jazz Orchestra.  The group has prided itself on using this approach many times before.  It proved successful every time previously and just as much here as in the past.  While the group’s take on ‘Baa Baa Black Sheep’ proves a strong opener for Jazz For Kids, it is just one of the songs that serves to show what makes this record such a joy.  The group’s arrangement of ‘Mah Na Mah Na’ does just as much as its take on ‘Baa Baa Black Sheep’ to make that case.

The presentation of ‘Mah Na Mah Na’ here pays such wonderful tribute to its source material in its arrangement, even going so far as to include one member of the group singing the monster’s part early on.  That brief moment is the song’s only moment that features any vocals.  The rest of the song is presented musically, and so well at that.  What makes the arrangement so really enjoyable is the music diversity displayed throughout the arrangement.  The drums, brass and woodwinds present a distinct jazz swing while the violin incorporated into the song adds a touch of bluegrass with its own jazz tinge.  The whole of the arrangement is what is – in this critic’s ears – the record’s most notable song.  It is just a nice, bouncy, fun song that will bring out the nostalgia in older listeners while introducing a whole new generation of listeners to a great, timeless work.  It is just one more of the album’s most notable moments.  ‘I Like To Take My Time’ is yet another song that shows what makes Jazz For Kids a work that will appeal just as much to kids as t will adults.

‘I Like To Take My Time’ is a cover of the song from the beloved PBS series Mister Rogers Neighborhood.  That song in itself had its own light, jazzy feel, as did many songs featured in the timeless, irreplaceable series.  So it should come as no surprise that it would be featured in this record.  The arrangement here is more upbeat than that featured in Mister Rogers Neighborhood.  It does retain some of the reserved nature of its source material, but by and large, it develops its own identity with its brass flourishes, drum fills and woodwind melodies.  Fred Rogers’ original composition barely topped the one-minute mark, but this arrangement, with all of its elements, clocks in at almost four-and-a-half-minutes.  The result is a work that is an enjoyable work in its own right that is also a fitting tribute to the memory and legacy of Fred Rogers.  When it is considered alongside the other songs discussed here and the rest of the album’s works, the whole of the songs makes Jazz For Kids a work that is aimed at kids, but is just as appealing for grown-ups as their younger counterparts.

The Jazz At Lincoln Center With Wynton Marsalis’ new family music album Jazz For Kids is a work that may be aimed at kids, but will appeal just as much to adults as it will to children.  That is due to arrangements which take the children’s classics and give them a whole new jazz identity.  All three of the songs examined serve to prove that statement.  The other songs that make up the rest of the record could just as easily be cited in making that statement.  When those songs and the songs discussed here are considered together, the whole of the songs presents Jazz For Kids to be a record that is one of the best new family music albums of this year and one of the year’s top new jazz & blues records.  It is available now.  More information on this and other titles from the Jazz At Lincoln Center Orchestra With Wynton Marsalis is available online now at:

 

 

 

Website: http://www.jazzatlincolncenterorchestra.org

Facebook: http://www.facebook.com/jazzatlincolncenterorchestra

Twitter: http://twitter.com/jazzdotorg

 

 

 

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.