For those in the know, it's usually more fun to talk about Wynton Marsalis and Jazz at Lincoln Center — the organization Marsalis is artistic director of — than it is to talk about their music. Marsalis and JALC have been controversial in the jazz world almost since they've been worthy of any news items; the sounds of Marsalis' music are often afterthoughts to the debates about the canon he presents, or his definition of jazz, or how his organization spends the money it receives.
Most human beings don't care about these things. They know JALC through its musical presentations, many with the 15-piece jazz orchestra bearing its name. In addition to playing often at its home base, it tours with some frequency — it's currently criss-crossing North America for nearly a month. I caught last night's performance at the Kennedy Center in Washington, D.C., presented by , and was reminded that behind the debates, there are a lot of talented musicians putting on lots of concerts. So I wanted to register a few impressions of the experience.
The band was, as usual, highly precise; sax solis were fluidly together, brass intonation was spot-on, stomps and handclaps and entrances were otherwise delivered with customary precision. There were five saxophonists, four trumpeters, three pieces inspired by 20th century visual artists (also three trombonists), two arrangements of Chick Corea pieces, and one Wynton Marsalis.
But these are things one might expect from a Jazz at Lincoln Center Orchestra show. Here are three more of my most salient thoughts, and one thing I still wonder about:
Now, an unresolved meta-issue. I did notice a lot of paying guests there, of all ages, and very few fellow insiders or musicians or superfans I knew. That's at least 2,000 people (2,454 is the capacity, but a few seats were open), presumably not frequent jazz concertgoers.
The attendance pattern suggests to me that this band is incredibly valuable in the role of jazz ambassador. It makes sense. Marsalis' chief ideal is pretty simple — that appreciating the way jazz works teaches us a lot about being good people — and it's a hopeful one. (Beneath my own cynical insulation, I might even believe it too.) He's really good at communicating his values, as I've discussed; the JLCO can also put butts in seats, and consistently educates and entertains its crowds with good jazz music. It's enough to make you want to drop any grudges with the organization it represents, at least for a few hours.
Perhaps some of the crowd will discover that good jazz happens an awful lot in D.C., usually in more intimate venues (even within the Kennedy Center itself) and for significantly less money. Right now, the JLCO isn't yet triggering a trickle down of fandom to the extent it needs to for a healthy, sustainable jazz community. But the potential is there — what would have to happen to make it so?
So if the Jazz at Lincoln Center Orchestra comes to your town — and they're one the few bands left which actually might — and you're curious, you should go! If you fear the narrative spun around Wynton Marsalis, the band itself is still worth an unclouded, honest appraisal. And if you're new to jazz, it's a pretty good introduction to the precepts and possibilities of the art form.
I will say, though: The JLCO brings a good game, but it certainly isn't the only game around. So if you like anything about the show, I hope it leads you to check out some other jazz musicians in and around your town, too. I presume it's what Wynton would want — but now we're talking about him again ...
Copyright 2020 NPR. To see more, visit https://www.npr.org. 9(MDAxNDQ2NDAxMDEyNzU2NzM2ODA3ZGI1ZA001))
