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Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
OTHER REVIEW
Jazz at Lincoln Center / Saturday, October 01, 2016
Jazz at Lincoln Center Orchestra. Wynton Marsalis, trumpet

Trumpeter Wynton Marsalis

STUNNING LINCOLN CENTER CONCERT LAUNCHES FIFTH WEILL SEASON

by Philip Beard
Saturday, October 01, 2016

Happy times in a packed Weill Hall Oct. 1: The insouciant, irrepressible, immensely talented trumpeter / bandleader Wynton Marsalis and his powerful, polished Lincoln Center Jazz Orchestra opened Weill’s fifth season with a superb program of jazz classics and classics-to-be that set a high bar for the season’s upcoming concerts.

The evening was important also for some reasons only indirectly related to the music itself, as the new University President Judy Sakaki, in surely what was herlargest public appearance to date, welcomed and acknowledged the Orchestra and several luminaries directly involved in Weill Hall’s emergence as a North Bay cultural mecca. Conspicuously absent from the audience and the printed program were Ms. Sakaki’s immediate predecessor, Ruben Armiñana, and his administrative VP/CFO Larry Schlereth. Green Music Center executive Zarin Mehta was present. Ms. Sakaki received a loud ovation both before and after her measured remarks, which may have come as encouragement for her in light of the announcement two days earlier that the MasterCard pavilion project (championed by Sanford Weill, also present) was being discontinued.

The Band launched into their unannounced opening number with Mr. Marsalis’ stage-front improvised chorus on “What Is This Thing Called Love” preceding the ensemble statement of the Ellington/Strayhorn favorite “Take the A Train”. Mr. Marsalis’ lively, high-reaching solo, replete with trumpet tricks (glisses, “doits”, half-valved fingerings) didn’t give any clue of the switcheroo to follow. Surprise! It was cool to hear the main tune emerging from an improvisation on a different one. The first A-Train solo per se went to another trumpet section member, Marcus Printup, who delivered a bigger, brassier, full-throated interpretation that contrasted refreshingly with the subtler Marsalis opener. Ms. Printup’s rich sound filled the hall and then some, but its more conventional prowess made me appreciate Ms. Marsalis’ tongue-in-eheeky subtleties all the more.

Speaking of full volume: I had been half expecting a cabaret-configuration stage setup with attendant over-amping, as has become the unfortunate norm for Weill concerts of the pop persuasion. Imagine my delight at seeing the conventional open stage, no huge drapes hanging down, the “choir loft” section of seats behind the orchestra not only visible but full of people – and with only the requisite big-band solo mikes in evidence, meaning that we were treated to the kind of acoustical performance the hall was designed for. Whether this choice stemmed from a new attitude on the part of the managers or just reflected Lincoln Center standard practice, I can’t say, but the contrast with the bellowing loudspeakers and cheesy light effects of recent experience was richly appreciated.

The musical program leaned heavily on compositions and arrangements by Lincoln Center Band members themselves, 11 of whom not only perform the group’s repertoire, but help create it. For me the most intriguing such number, composed by saxophonist Ted Nash, was a paean to South Africa’s iconic president Nelson Mandela, consisting of a salsa-style musical backdrop for excerpts from Mandela’s inauguration speech of 1994. Trombonist Vincent Gardner was the sole soloist, plus the reciter of Mandela’s words. The miking was a tad mushy and Mr. Gardner’s imitation of Mandela’s English sometimes difficult to decipher, but the gist came through loud and clear: This number, like the whole Lincoln Jazz “Presidential Suite” that it’s a part of, was about freedom, perseverance, courage, and love. How moving to hear those guiding stars of our collective experience ennobled in a quintessentially American musical idiom.

The evening offered far too many stunning performances for me to detail them all. But a few moments and impressions stand out.

One was the band’s highlighting a couple of compositions by the Duke Ellington, who had been the focus of the kiddie concert earlier in the day. First was the aforementioned “A Train”; second was a riveting alto sax performance of “Isvahan”, from Ellington’s “Far East Suite”, performed by the visually and tonally impressive Sherman Irby. He started with about 15 seconds of bowed-head silence, then introduced an intimate, soulful, sinuous statement that blossomed into a mezzo-forte ensemble bouquet, a background against which Mr. Irby unleashed a bevy of bent notes and bluesy conversational licks, ultimately to return to a mesmerizing pianissimo rendering of the mideast-flavored melody that left the audience dewy-eyed and mute. A quintessentially soulful performance.

Another recurrent high point was the group’s dynamic flexibility, ranging from the softest whisper tones to fulgent fortissimos, undergirded always by the sensitive, supportive beats, crashes, rolls, dings, and skishes of drummer Ali Jackson. It bears repeating: This is the richness that is lost when every instrumental sound is sent through myriad mikes and amps à la rock concert.

An unusual bit of excitement came in Mr. Irby’s arrangement of the lesser-known Thelonious Monk tune “Rhythm-a-Ning”. An upbeat 4/4 chart, it started with a slick drum solo by Mr. Jackson, moved adroitly through its thematic material, then ended with dueling bari and alto sax players first “trading eights” (alternating eight-bar phrases), then fours, then twos, then ones, then – “halves”! I’d never before witnessed this exhilarating variation on the solo-trading convention. Another front-stage solo that left the audience oohing and aahing was soprano saxophonist Victor Goines’ rendition of the Gershwin chestnut “Summertime”. Mr. Goines’ tone resembles that of the storied clarinetist Sydney Bechet, only with a gentler vibrato entirely fitting this group’s polished, genteel persona. His lovely interpretation stayed always within hailing distance of the melody, but stood out for its thrilling rapid passage work that ended with a high note held so long it made you want to cry.

Wynton Marsalis is simply a phenomenal trumpeter, bandleader, storyteller, educator, and cultural ambassador. He spiced the evening repeatedly with tongue-in-cheek asides, stories from jazz history, and engaging didactics, as when he explained at length why we’d see band members laughing with each other mid-chart. Things don’t always go exactly as planned, he pointed out; soloists may get so engrossed in their “blowing” that they choose to go on for a chorus or two longer than the band had practiced, and then the band has to adapt on the fly. And no one’s sure just how the adapting will work out, and that makes things a little tense. So when it works out beautifully, “That’s why we laugh.” The audience loved it.

Saving the best for last, Mr. Marsalis ended this memorable evening with an unforgettable solo, the final of the two encores. Backed by the sax and rhythm sections alone (the brass stayed off stage for the encores), he gave a virtuoso rendering of “hat” technique on a tune I didn’t recognize, playing at various depths and angles into the red-and-white derby “hat” so beloved of 30’s-era big bands, a muting device held in the player’s left hand while he supports the trumpet and works the valves with his right. The subtle tone modulations were delightful.

At a previous live concert and on many recordings I’d heard Mr. Marsalis’ amazingly versatile work with a “plunger”, which works the same two-handed way but produces a more pronounced muffling of the sound when held close to the trumpet bell and an abrupt “wah-wah” effect when moved away. This hat solo, by contrast, was all gentility and nuance, smoothly gliding to shimmering licks in the instrument’s upper reaches, swooping down low as if on a velvet slide, and ending with a fade-out pianissimo that could leave no sentient listener unmoved.

One point of criticism, as given Mr. Marsalis' well-known commitment to civil rights and inclusion, it's jarring that the Lincoln Center Orchestra didn't include a woman musician. But bravo to Wynton Marsalis and the Lincoln Center Orchestra! The standard has been set for this emergent fifth-year Weill Hall series.