EIF 26: JLCO with Yuja Wang
Usher Hall, Edinburgh, 12/8/26
Jazz at Lincoln Centre Orchestra; Wynton Marsalis (director, trumpet), Yuja Wang (piano)
Early-evening on 12th August, as part of their residency at this year’s Edinburgh International Festival, the Jazz at Lincoln Centre Orchestra with their founder/director Wynton Marsalis were joined (in a world first) by Chinese pianistic superstar, Yuja Wang, for a concert exploring the music of the great 20th century masters of jazz piano. Each number featured a classic piano solo by one of the great player/composers, embedded in an arrangement for the ensemble by one of its members. The Usher Hall was packed to the rafters. Wynton Marsalis introduced the programme items and credited the solos (the latter inaudibly during the rapturous applause). The published ‘freesheet’, which covered the full residency, was no help with either of these details.
Dave Brubeck’s ‘Blue Rondo a La Turk’, featuring his 1959 piano solo from the album ‘Time Out’, was inspired by the rhythms of Turkish street musicians. The arrangement by trombonist Chris Crenshaw exploited the quirky 9-beat rhythmic pattern of 2+2+2+3 interlaced with occasional 3+3+3 to great effect. Piano and bass intro led to thrilling writing for brass and reeds with a smooth central interlude. A great opener.
No.6 from Cuban master Ernesto Lecuona’s 1937 suite ‘Danzas afro-Cubanas’, titled ‘La Comparsa’ (a group of street musicians playing in a carnival parade) and featuring the composer’s solo, was rich in polyrhythms, syncopation and Latin charm. Piano and bongos set the rhythm, introducing a smooth melody, with muted brass and reed comments. After a lovely flute solo from multi-instrumentalist Alexa Tarantino, the tempo heated up for a big finish. Bassist Carlos Henriquez was the arranger.
Duke Ellington’s ‘Reflections in D’ from his 1953 album ‘The Duke Plays Ellington’, with the Duke’s own solo, had an impressionistic vibe with hints of Debussy in the piano part. Plenty for the full band too in the middle in this arrangement by pianist Joe Block, and another memorable flute solo.
Oscar Peterson’s ‘L’Impossible’ (A high-octane bossa nova from the 1966 album ‘Blues Etude’ with Oscar’s fiendish fast highly ornamented solo earning the title) was stunningly played in an arrangement by alto/soprano sax/clarinettist/flautist Alexa Tarantino.
Leroy Carr’s ‘How Long Blues’ (with Jimmy Yancey’s piano solo) was arranged – and sung! – by Sherman Irby, who shares the same multi-instrumental credentials as Alexa. Gospel elements adorned the delicious blues melody. A magical piccolo with high tinkling piano was memorable, before a big tutti and a concluding piano solo. Even with the bizarre concluding chord, this was my favourite.
Back to Lecuona in Carlos Henriquez’ arrangements for ‘Gitanerías’ (Gypsy shops) from ‘Suite Andalucía’. Classical elements in the piano writing recalled Saint-Saëns, leading to a series of Latin episodes with stylish solos for sax and trumpet. A cheeky final piano cadence raised a few smiles.
Wynton Marsalis’ ‘Marthaniel’ (from the 1992 album ‘Citi Movement’ with Marcus Roberts’ piano solo) was arranged by trumpeter Marcus Printup. A deliciously bluesy number in the character of a slow drag, it featured piccolo comments and an engaging trumpet solo.
Art Tatum’s phenomenally virtuosic glittering 1933 piano solo from his treatment of the trad standard ‘Tiger Rag’ (1917) maximised the “wow” factor, in a super arrangement by trombonist Chris Crenshaw. A great sax solo, some stunning brass writing, snappy syncopation and an oblique reference to ‘Auld Lang Syne’ added to the charm.
Joseph Kosma’s classic standard ‘Autumn Leaves’ (with Erroll Garner’s piano solo) was another Sherman Irby arrangement and the final crowd-pleaser. Yuja Wang’s solo introduction was pure Rachmaninov romanticism, followed by a slow march with muted brass comments. Two big tutti episodes flanked a syncopated piano solo before the big finish, bringing the house down. Fabulous.
Weblink: https://www.eif.co.uk/events/jlco-with-yuja-wang