S H E R M a N I R B Y

SHERMAN IRBY’S JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS hat haunting trombone cry about four seconds into the overture of Sherman Irby’s Inferno? That’s some down-home blues right there. And with that bit of Southern hospitality that reflects the composer’s roots, one’s immediately welcomed into Irby’s musical world—or rather, underworld. 4 5 While jazz certainly embodies The power of Irby’s timely and freedom, Irby’s Inferno represents compelling Inferno lies in its another timely message. In today’s uniqueness and intelligence. And, of world of division, hype, and course, its swing. This is “Irby’s main distractions, where mankind can goal above all else,” says fellow JLCO hometown of Tuscaloosa, Alabama. be manipulated by algorithms and bandmate Chris Crenshaw, whose fter all, Inferno In addition to his time with the Jazz become addicted to a phone’s beep, musical interpretation of James Weldon is Irby’s at Lincoln Center Orchestra with we’re constantly reminded that Johnson’s God’s Trombones premiered interpretation Wynton Marsalis (JLCO), Irby has our basic instincts are animalistic. on the same concert as Irby’s Inferno of Dante’s worked with Elvin Jones, James However, there is an intelligence in 2012. Cleveland, Roy Hargrove, Papo and cleverness to Irby’s rich, multi- epic 14th-century poem Irby’s affection for his JLCO bandmates of the same name, Vazquez, McCoy Tyner, and Marcus layered, powerfully compelling Roberts, and his diverse influences Inferno that reminds of us of that is clear in his writing. Crenshaw which follows the are on full display in the gumbo that which makes us human. Of course, comments that “Sherman cares for author on his imagined, is Inferno. all kinds of music have the ability his brethren, and he cares about this harrowing journey to help us transcend. But it’s hard to music, and that goes a long way.” Art reflects the time in which it think of another genre besides jazz through the nine circles “I wrote this act for Joe Temperley,” of Hell. was created. Dante completed The that can capture so many different— Divine Comedy (of which Inferno and often conflicting—feelings all Irby remarks. “He was the band’s elder statesman and musical guide for almost Listen beyond that opening was part one of three) in 1320, at the same time. Irby’s Inferno is 30 years. It was my honor to feature trombone cry to when the horns all during a time of great political filled with a wide range of feelings, his beautiful, passionate sound as the begin scowling and barking at each upheaval and 18 years after he intelligent and dense harmonies, voice of the central character, Dante.” other. Yes, Irby’s Southern roots was exiled from his hometown of and thoughtful, irresistible rhythms. are immediately apparent, but so Florence. He seems to have written This isn’t simply a jazz version of is the life he’s led since leaving his many of his enemies into the work an old poem; this is an important as a way of getting back at them. musical piece that matters today. 6 7 [ Joe Temperley’s] sound contained the breadth of his years, tempered by the ups and downs of man’s journey through life. – Sherman Irby 8 9 While Duke Ellington, Mary Lou Williams, and others have composed In depicting this circle, Irby suites and religious pieces, it really is envisioned a cocktail party. “The hard to find a precedent for a piece guests,” he says, “are greeted with like this. After all, here we have a six- brass fanfares and people entertained movement suite featuring a big band by a big band. The solos reflect those interpreting an epic poem. guests at the party.” Listen to the rich, lush harmonies, the That said, with or relaxed swing, the playful flutes and without Dante’s the crisp horns. It may feel familiar, but it isn’t, and that’s part of the story as context, magic that makes Irby’s journey into Irby’s Inferno would the unknown so exciting. stand on its own. Movement Two, entitled “Insatiable Irby’s intelligence and unique way Hunger,” highlights circles two and of honoring and expanding on three, both of which, in Irby’s words, tradition is exemplified in Movement “contains souls who were lustful and One, “House Of Unbelievers.” This consumed and destroyed others and movement depicts the first circle of those whose gluttonies destroyed hell whose inhabitants are the souls themselves.” who did not believe in God (but have not sinned). This category includes poets, scientists, philosophers, unbaptized infants, and kings of non- Christian lands. 10 11 This feeling is put to a groove that Movement Four depicts circle six Movement Six portrays circles eight of Mount Purgatory,” marks Dante’s Crenshaw describes as “minimalistic and the heretics now condemned (for those who victimized others) arrival at the foot of Mount Purgatory. but powerful and meaningful (and to spend all of eternity burning in and nine (for those, like Cain and As Irby remarks, “It’s difficult to write funky to say the least).” Irby says he their graves. Entitled “The City of Judas Iscariot, who victimized a large work for the jazz orchestra created it by “grouping the band Dis,” this movement is named for others with whom they shared a without paying an homage to its in pairs, representing people doing the land on the other side of the special bond). Chris Crenshaw greatest composer, Duke Ellington. I their own thing inside of a big room; River Styx that contains the final says, “One of my favorite pieces is waited to do this for the finale because if an observer takes a step back, four circles of Hell. After the choir ‘The Great Deceiver’ because it has I wanted Joe, who was once a member they will see the many turn into a of drumrolls and playfully dissonant different grooves; it features many of Ellington’s orchestra, to be the last single, pulsating organism.” harmonies take listeners ashore, of us; it has functional dissonance voice of the story.” they find themselves on new, exotic representing the cold nature of the Irby’s goal for Movement Three, ground. ”I wanted to get the flavor piece Sherman intended; and it’s It’s a touching end to a remarkable “Beware The Wolf and The of Iranian ‘belly dancing’ music, comparable to a movie score with piece, and it reflects Irby’s optimistic Serpent,” (which depicts circles four while maintaining a bit of the swing surprise after surprise.” Irby’s goal outlook. Inferno reflects the unique and five, home to the avaricious and groove,” Irby says. here was “to create the imagined essence of jazz that brings joy to the wrathful) was to capture a feeling sound of a violent, frozen Hell.” To sadness, playfulness to the serious, and of “senseless fighting.” As Irby says, Movement Five, “The Three-Headed accomplish this, he “used the upper vice-versa. Just as one can only get to he accomplished this by “dividing Serpent,” depicts circle seven, woodwinds and trombones in their heaven by passing through hell, Irby’s the orchestra in half, while keeping home to those who have committed highest ranges. It is supposed to Inferno reminds us that there’s light at the trombones interacting with both. violence against others, themselves, sound like it hurts, with the trumpets the end of the tunnel. I even have the soloists interrupting or God. As Irby says, “There’s a lot to give a short bit of relief before each other. Total disrespect to each of fighting in this one, like two dogs the pain starts again (probably the other and to themselves. The human sniffing each other.” It’s here that cruelest form of torture).” condition…” “the band goes to war.” The fighting is illustrated by the various sections Inferno’s lush, sweeping, swinging, trying to talk over one another. and reflective finale, “The Shores – Joe Alterman 12 13 1. OVERTURE: 3. MOVEMENT II: 5. MOVEMENT IV: 7. MOVEMENT VI: LOST INSATIABLE THE CITY OF DIS THE GREAT HUNGER DECEIVER / FINALE: Solo: Joe Temperley Solos: Walter Blanding (soprano THE SHORES (baritone saxophone) Solos: Walter Blanding (tenor and saxophone and oboe) soprano saxophones) Ted Nash (flute) OF MOUNT Vincent Gardner (trombone) PURGATORY Solos: Carlos Henriquez (bass) 2. MOVEMENT I: 4. MOVEMENT III: 6. MOVEMENT V: Dan Nimmer (piano) HOUSE OF BEWARE THE THE THREE- Joe Temperley (baritone saxophone) UNBELIEVERS WOLF AND THE HEADED SERPENT SERPENT Solos: Ted Nash (flute) Victor Goines (clarinet) Solos: Sherman Irby (alto saxophone) Solos: Ali Jackson (drums) Chris Crenshaw (trombone) Elliot Mason (trombone) Victor Goines (tenor saxophone) Wynton Marsalis (trumpet) Ted Nash (alto saxophone) Kenny Rampton (trumpet) Marcus Printup (trumpet) All movements composed by Sherman Irby Dan Nimmer (piano) Sherman Irby Publishing (BMI) 14 15 16 17 Director of Public Relations & External EXECUTIVE Communications PERSONNEL PRODUCER Zooey T. Jones Public Relations Manager WYNTON MARSALIS THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS Madelyn Gardner Art Direction PRODUCER Brian Welesko SHERMAN IRBY Design Patricia Encarnación REEDS TRUMPETS RHYTHM SECTION Front of House Engineer Legal David Robinson Daphnée Saget Woodley, Wesley Friedman, Sherman Irby Ryan Kisor Dan Nimmer (piano) and Allison Job (alto and soprano saxophones, Recording Engineers flute, piccolo, clarinet) Kenny Rampton Carlos Henriquez (bass) Rob Macomber for SiriusXM and James Music Administration P. Nichols Kay Wolff and Christianna English Ted Nash (alto saxophone, Marcus Printup Ali Jackson (drums) Mixing Engineer Concert Line Producer flute, piccolo, clarinet) Rob Macomber Wynton Marsalis Eric Wright Victor Goines (tenor and Production Assistant Audio Archivist soprano saxophones, Bb and Michael Hickey Omar Little and Benjamin Carbone bass clarinets) TROMBONES Mastered by Photography Vincent Gardner Mark Wilder at Battery Studios, NYC 2019 Frank Stewart and Lawrence Sumulong Walter Blanding (tenor and soprano saxophones, Chris Crenshaw Label Head and A&R oboe, clarinet) Gabrielle Armand Recorded on May 19, 2012 at Jazz at Lincoln Elliot Mason Label Manager Center’s Frederick P.

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