Music Overview: Wynton Marsalis Septet Associates, Together Yet again

December 27th, 2013

Michelle V. Agins/The New York Times

Wynton Marsalis The trumpeter and composer with associates of his aged septet on Thursday at Dizzy’s Club Coca-Cola, Jazz at Lincoln Heart.

The close of the year is a time for several items: cozy reunions, warm nostalgia, extravagant splurges. If you’re Wynton Marsalis, inventive director of Jazz at Lincoln Center, it’s also a time to set up shop in a smallish place and get again to work, as if you experienced ever stopped.

On Thursday, in the initial established of a 6-night operate at Dizzy’s Club Coca-Cola, Mr. Marsalis led a close to facsimile of his old septet, making it audio uncannily like a steady-operating band. The modest scale of the place, and the effortless collegiality on the bandstand, ended up provided as an implicit vacation present.

20 years back, the Wynton Marsalis Septet was the primary motor vehicle for this trumpeter-composer’s tunes, a unique forces unit uniquely equipped to have out his directives. His signature innovation there involved timbre and orchestration, and, much more precisely, the way he could imbue a 4-horn front line with all way of slithery internal tension.

Amongst his responsive partners had been the trombonist Wycliffe Gordon, the alto saxophonist Wessell Anderson and the tenor saxophonist and clarinetist Victor Goines, who have stored their ties to Jazz at Lincoln Heart and who are all on board this week. Their blend was the two earthy and streamlined throughout “Jig’s Jig,” a modified blues set to New Orleans habanera rhythm, and influenced by the gait of a kid hand in hand with an aged person. (Individuals details came in an introduction by Mr. Marsalis, who knows how to seem homespun even as he makes himself very carefully comprehended.)

Even though the horns barked or bleated or murmured and protected a good deal of acreage in their respective solos, the rhythm part gave an amazing raise to practically every single tune. Herlin Riley was riveting at any tempo, regardless of whether laying into his journey cymbal or breaking up the pulse with sly subdivisions across his kick drum, toms and snare. Reginald Veal gave his bass lines a weighty traction and an almost tactile depth of sound.

And, at the piano, Eric Reed was an endlessly resourceful improviser: not only in his solos, on agreeable fare like Thelonious Monk’s “Brake’s Sake,” but also in his comping powering other individuals. Specially when backing Mr. Marsalis, he eased away from stringent chordal accompaniment, throwing in frisky riffs and spidery traces, as provocation and framework.

What Mr. Marsalis did with the solo highlight was predictably bracing, and the furthest factor from complacent. On “Double Rondo on the River (Pedro’s Getaway),” initially composed for a movie score, he started out with a string of slangy interjections even though the rest of the band played his straight gentleman when he finally took an open lane, removing his mute from the bell of his horn, he sent a pocket opus, girded by structural integrity and rhythmic aplomb. And, for his nearer, a typically brisk “Cherokee,” he fired off eighth-observe phrases with razor clarity, backed only by bass and drums.

Maybe since this was an opening established, the area was thick with Jazz at Lincoln Heart staff and board members. The engagement’s cost construction — each ticket expenses $ 125, including a $ 90 donation (significantly greater on New Year’s Eve) — turned each listener into a patron.

What would be welcome is a document of the whole operate, together the lines of “Live at the Village Vanguard,” a 1999 boxed established that also featured the septet. The caliber of the music is high adequate, and apart from, there’ll be a require for new gifts this time up coming 12 months.

The Wynton Marsalis Septet performs by means of Tuesday at Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Middle, 60th Street and Broadway 212-258-9595,

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