EIF 26: All Rise

Usher Hall 8/8/26

Jazz at Lincoln Centre Orchestra with Wynton Marsalis

Royal Scottish National Orchestra James Gaffigan conductor

Edinburgh Festival Chorus James Grossmith chorus director

Jason Max Ferdinand Singers

'All Rise', the Chorus proclaims halfway through Wynton Marsalis's first symphony. It's a statement as much about the importance of our “fellow man” as about individual salvation. The chorus stomps, and bells ring for this declaration which draws together musically and philosophically what this vast work is about. It's also one of the best Festival Opening Nights ever!

Marsalis has said that he is looking for 'common ground' between classical music and jazz, and he finds it in the rhythmical music shared by Americans, from funeral marches to Latin American tangos to ballroom quicksteps. The work is in three sections, divided by two intervals. After the short stirring opening by full ensemble, much of the first section is exploratory and unsettling, though there are moments of sheer beauty, for example the RSNO strings' lyrical waltz in 'Go slow (but don't stop)'. Yet the tribute to country-style dance in 'Wild Strumming of Fiddles', with its nods to Copland's 'Hoe-down', fails to take off despite authentic crunchy chords.

The second part is on surer ground from the start. Wynton Marsalis, (hidden in the third row of the JLCO) has terrific solos, which rise in breathtaking improvisations to smiles from the orchestra and spontaneous applause. In a structured work as massive as this, improvisation comes from the jazz orchestra – pianist Joe Block also shines, as do the wonderful front-row saxophonists. The Chorus who've vocalised and sung short phrases in Section 1 here blossom into full choral singing, Marsalis's libretto from praise songs and communal chants leading to rousing certainty, with the soloists from the JMF Singers, who are spread around the Chorus providing distinctive voices.

Three instrumental movements begin the third section. Marsalis doesn't like the word 'fusion' to describe the relationship between the parts of the huge ensemble. But there's much fascinating interplay between the parts of the ensemble, with the RSNO musicians augmenting the larger and subtler sounds required by the composer. Most prominent are the timpanist and the percussion team: sometimes racing along the back row, they produce threatening volume, eerie whoops, and subtler rattling on hand drums and maracas. The upper strings are lush in their Astaire -like smoothness, while the brass section conjure up marching rhythms and muted wah- wahs. Leader Maya Iwabuchi, who has her own lovely solo, keeps everything under control.

As the momentum increases. the Marsalis trumpet taking flight again has conductor James Gaffigan essaying a 360 degree spin. The last movement's initial discordance is washed away by the soprano soloist exhorting 'All Rise' with the Chorus reponding 'I am, I am, I am' and the symphony moves to a joyful conclusion... Then applause is halted for a coda. The JLCO return to their roots for a session of New Orleans jazz , the Chorus downs scores and bops along to “Open up your heart and sing!” The standing ovation sees Wynton Marsalis brought out for his bow and appreciation is shown to James Gaffigan and James Grossmith whose clear direction and enthusiasm for this work has created a magnificent performance.

Then another another false ending (is someone familiar with Haydn?) as a marching band from the Scottish National Youth Jazz Orchestra process in the side aisle, and after a circuit of the auditorium continue the party in the street. Wow!