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The Music of Ornette Coleman

- Jazz and Cabaret Corner

The Music of Ornette Coleman
Featuring Lincoln Center Jazz Orchestra

At Alice Tully Hall
Lincoln Center

Wynton Marsalis, Music Director
Wynton Marsalis, Trumpet
Seneca Black, Trumpet
Ryan Kisor, Trumpet
Marcus Printup, Trumpet
Ron Westray, Trombone
Andre Hayward, Trombone
Vincent R. Gardner, Trombone
Wess "Warmdaddy" Anderson, Alto and Soprano Sax
Ted Nash, Alto Sax, Clarinet, Flute, Piccolo
Walter Blanding, Jr., Tenor Sax
Victor Goines, Tenor and Soprano Sax, Clarinet
Joe Temperley, Baritone and Soprano Sax, Clarinet
Eric Lewis, Piano
Carlos Henriquez, Bass
Herlin Riley, Drums
Special Guest: Dewey Redman, Tenor Saxophone
Host: Phil Schaap
Naeemah Hicks, Press

Dr. Roberta E. Zlokower
February 19, 2004

(See January 29, 2004 Lincoln Center Jazz Orchestra Review) Ornette Coleman, who was applauded tonight from the audience, is considered a disciple of Charlie Parker and highly influential in avant-garde jazz, through his compositions and through his saxophone arrangements and performance style. Dewey Redman, a contemporary of Ornette Coleman, recorded with Coleman, as well as Keith Jarrett, the Jazz Composers Orchestra, and Charlie Haden. (LC Jazz Orchestra Notes).

In The Invisible, Wynton Marsalis took the lead with a percussive flourish, followed by racing trombones and a sensational saxophone, a jubilee of fused tonalities. This jazz orchestra is totally in unison. Una Muy Bonita nicely features the bass, with a saxophone riff. When Mr. Marsalis comes in, there’s a communicative connection, before the music blends into his distant trumpet repetitions. Lonely Woman, Ron Westray’s arrangement (He conducts.), is bluesy but not bereft. With strong horn passages, I thought I heard NY at midnight, a hint of Miles Davis’ melancholia. The bass ended this piece in East Indian intonations.

For Happy House, Dewey Redman came onstage, a very colorful character in a yellow, African styled coat and hat. During this rousing piece, that was for me reminiscent of a wild fraternity party, Mr. Marsalis came front stage with Mr. Redman, and their rambling notes grew into throaty chords in advance of percussive fireworks. Rambling had a New Orleans motif, with a dissonant, but playful piano that soon created a definitive Swing beat. Mr. Redman then played a smooth solo sax against the emergent Swing trombone. Eric Lewis snapped some piano strings for washboard effects, and I thought I heard a tambourine.

WRU re-introduced an East Indian theme, very melancholy and very Turkish, and I thought of Istanbul, before an upbeat, skipping and tripping rhythm emerged. Free was a Big band fusion with Mr. Marsalis again in the lead. His endless riff rippled with resonance, just as Mr. Lewis went wild and attacked his keyboard. Peace evoked trumpet solos, and Carlos Henriquez took out his bow (Few jazz bands or orchestras showcase the bass front stage.). I found this piece expressionistic, fanciful, fragmented, kinetic, just before it slid into a soft, sultry ending.

Humpty Dumpty had accented and muted trumpet effects, with a danceable beat and percussive punctuation. Kaleidoscope was cacophonous, a medley of counterpoint and a collision of instruments in an eclectic and electric performance. Kudos to Wynton Marsalis, to Dewey Redman, and especially to Ornette Coleman for his exciting and original compositions.

Wynton Marsalis and guest artist Dewey Redman solos at Jazz at Lincoln Center's "The Music of Ornette Coleman" concert on February 19, 2004 at Alice Tully Hall.
Photo courtesy of Frank Stewart/Jazz at Lincoln Center

The Lincoln Center Jazz Orchestra performs at Jazz at Lincoln Center's production of "The Music of Ornette Coleman" on February 19, 2004 at Alice Tully Hall.
Photo courtesy of Frank Stewart/Jazz at Lincoln Center

For more information, contact Dr. Roberta E. Zlokower at