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Lincoln Centep a ; LINCOLN CENTEP A ; .. J- '' < ' WVNTON MARSALIS WYNTON MARSALIS, trumpet The Paul Smith Singers The Northridge Singers of Ill HIS( California State University at Northridge Morgan State University Choir Lincoln Center Jazz Orchestra Los Angeles Philharmonic Esa-Pekka Salonen .I. :· ~ ' ' . .' .........•., r· . \'.' " -~'I . -~ .. \ ' .·~.... ,,, ,,.,... • ' ·~ . ;.i1,l1 'I .. ·. , J ,• . \ I, ,··.· •"(' ~ . J. _:;,: . WYNTON MARSALIS, trumpet The Paul Smith Singers The Northridge Singers of California State University at Northridge (Dr. Paul Smith, director) WYNTON MARSALIS ('19s1i Morgan State University Choir WORlD PREMIERE RECORDING (Dr. Nathan Carter, director) Lincoln Center Jazz Orchestra Los Angeles Phllhannonlc Ill RIS( Esa-Pekka Salonen Producer: Steven Epstein Recording and Mixing Engineer: Todd Whitelock ■ I Editing Engineer: Robert Wolff 1 Movement 1: Jubal Step Assistant Engineers (Todd A-0): Jay Selvester, David Marguette 2 Movement 2: A Hundred and a Hundred, a Hundred and Twelve Technical Supervisor (Todd A-0): Mark Gebauer Digitally recorded in 24 bit resolution at Todd A-0 Scoring Stage, Los Angeles, CA, September 14-15, 2001. 3: Go Slow (But Don't Stop) 3 Movement Edited and Mixed at Sony Music Studios, NYC 4 Movement 4: Wild Strumming of Fiddle A&R Manager: Ruth DeSarno 5 Movement 5: Save Us Product Manager: Bob Kranes 6 Movement 6: Cried, Shouted, Then Sung Editorial Production: Elliott Media Services Inc. 7 Movement 7: Look Beyond Art Direction and Design: Giulio Turturro 8 Movement 8: The Halls of Erudition and Scholarship (Come Back Home) Photography: Frank Stewart www.esa-pekkasalonen.com www.sonyclassical.com ■ z Visit Wynton Marsalis' official website at www.wyntonmarsalis.com. 1 Movement 9; El 'Gran' Baile de la Reina 1HE 2 Movement 10: Expressbrown Loca I , ~G~MErIT 3 Movement 11: Saturday Night Slow Drag 1 4 Movement 12: I Am (Don't You Run From Me) Santa fe, NM ♦ Princeton. NJ Edward C. Arrendell II ♦ Vernon H. Hammond Ill Total Time Oise I: 74'38 ALL RISE lyrics <t> 2000 by Wynton Marsalis Enterprises, Inc. All Rigt,ts Reserved. Used by Permission. Total Time Disc 2: 31'37 Cl 2002 Sony Music Entertainment Inc. / ® 2002 Sony Music Entertainment Inc. 111 ThlS co u1JliZn Sony's DIRECT smu.M DIGfTAL (DSD) System and S8M Direct Di~lly recordN Ill 24 btt resolutiOn This Compact DISC was manufactured to meet critical quality standards. If you beheve the disc has a manufacturing defect, please call our Quality Management Department at 1-800-255-7514. New Jersey res,dents should call 856-722-8224. ~~.~:~~::o• mJill Bl~ ~ Wess Anderson, alto sax ~ SP(Clll mm TO: Movement II llNCOlN C(NUR Jill OACH(STRI Walter Blanding Jr., tenor saxophone Jason Marsalis, Ted Nash, piccolo for coming through on such short notice WYNTON MARSALIS, Artistic Director Movement 111 Rob Gibson BRUCE MacCOMBIE, Executive Director Peter Martin, piano James Oliverio, YOCll SOlOISTS for invaluable assistance and advice on musical matters Movement IV (In order of appearance) Kurt Masur and the New York Philharmonic Wynton Marsalis, conductor, trumpet Rodney Whitaker, bass Dr. Nathan Carter Seneca Black, trumpet Movement V Paul Smith Movement V Cynthia Hardy, Alto Ryan Kisor, trumpet Vincent Gardner, 1st trombone solo Esa-Pekka Salonen nd Kenneth Alston, Tenor Steven Epstein Marcus Printup, trumpet Ronald Westray, 2 trombone solo Kevin MeAllister, Baritone Wynton Marsalis, trumpet Todd Whitelock Ron Westray, trombone *Elliott Jackson, Baritone Peter Gelb Andre Hayward, trombone Movement VI Paul Geller Vincent Gardner, trombone Victor Goines, clarinet Movement VIII Calvin Hunt Norman Pearson, tuba Miriam Richardson, Mezzo Soprano Wess "Warmdaddy" Anderson, Randa Kirschbaum *Elliott Jackson, Baritone alto and sopranino saxophones Movement VII Jonathan Kelly Peter Martin, piano lssachah Savage, Tenor John Miller Ted Nash, alto and soprano saxophones, Kenneithia Redden-Mitchell, Soprano clarinet Mark Pachucki Movement VIII Sequina DuBose, Soprano Dennis Jeter Walter Blanding Jr., tenor saxophone Marcus Printup, trumpet Bob Sadin Victor Goines, clarinet, bass clarinet, Movement IX Movement XII Miri Ben Ari soprano and tenor saxophones Joe Temperley, baritone sax Cynthia Hardy, Alto Victor Goines Joe Temperley, baritone and soprano Ryan Kisor, Marcus Printup, Koli Givens *All soloists from Morgan State Choir saxophones, bass clarinet Quintin Givens Seneca Black, Wynton Marsalis, trumpets with the exception of Elliott Jackson Peter Martin, piano Eric Wright Movement X from the Paul Smith Singers. Rodney Whitaker, bass Ted Nash, alto sax Big Boss Murphy Peter Martins Herlln RIiey, drums Wess Anderson, alto sax ~ Genevieve Stewart Ryan Kisor, trumpet Ricki Moskowitz Movement XI Kierstan Smith The LCJO Nathan George Movement XII Ted Nash, flute ~ Jason Marsalis, drums BOHN TO HIS( Those virtuoso musicians who know and love music, and who have piayed many, many kinds of it, have something special in common. They always know - without a doubt - when they have been part of a major event. They are very clear on the actual point at which new artistic ground has been taken, when assumed impossi­ bilities have become possible, when the aesthetic vista has been broadened. Such musicians are the ultimate insiders, the ones hardest to please, the members of the music world most ready to com­ plain to one another about the dreck they had to play for such and such an occa­ sion. Not only are they ready to make jokes about a movie score or giggle about the mediocre talents they have had to accompany, these kinds of pro­ fessionals are also ready to speak dis­ missively of things that they might even respect for their technical brilliance. That is because such musicians are not moved by even highly accomplished music that does not contain the funda­ mental qualities that they have discov­ ered in every great work they have played, regardless of the era or the style in which it was written. When the last note of this recording was played, many members of the Los Angeles Philharmonic sponta­ Finally, Boyde Hood, a trumpet player who has been with the Los Angeles Philharmonic for twenty years, neously lined up in order to individually tell Wynton Marsalis how marvelous a piece he had written and how speaks of this work as it compares to the many orchestra pieces he has performed by twentieth century com­ much they had loved playing it. There you go and there it is. Serious praise of that sort is an unusual thing for posers, "I think this piece is certainly one of the best. from a lot of vantage points. It's one of the best a composer to receive in our time, since orchestra musicians very, very rarely talk of enjoying or loving some because of the intent of the piece. The idea of always striving and rising above adversity, that kind of thing. new music, or even feeling that it actually is new. "But I think if it doesn't work on the musical level, then whatever the emotional intent is doesn't work as well, As Bob Karon, an auxiliary trumpet player with the L.A. Philharmonic observed, "First of all, the Lincoln Center because you're hampered as a listener, or as a performer, with the fact that some piece might not be a very band sounds unbelievable. It's great to hear them play; everyone is a terrific soloist, and they're also great good piece. In this case, it's a sensational piece. I mean it's really a wonderful piece of music, so the mes­ ensemble players. So it's very inspirational to listen to that wonderful playing. The other thing is that Wynton has sage that he's trying to get across is enhanced by the fact that you're enjoying what you're listening to. the orchestra fit with the jazz group, and the choir. I love the way he uses everything, all these wonderful sounds. Therefore, the music takes you even further. What he's managed to do, because he's a wonderful musician, is take all these disparate elements, from Stravinsky to Gospel, and make them work in this setting. I don't know "I've been around the L.A. Philharmonic for thirty years, and there's a lot of sounds I have never heard come if you would call it a "third stream" type of thing, because it's more than just a fusion with jazz. It's taking all out of an orchestra before that he was able to create. So his ideas about orchestration are great. Somebody of the elements of the musical language and making them work within a piece of music. And that's very differ­ said the other day, 'This is the hippest thing the orchestra has ever done,' and I really think that's true. It's ent from just classical and jazz when you put it all together. He's taken all of this varied musical language that very exciting to be a part of it." we have as composers and performers and has made it work as a single piece of music, without being self­ conscious about it. And that's what I find to be really extraordinary." What so impressed the musicians of the Los Angeles Philharmonic as players is, clearly, the Lincoln Center Jazz Orchestra, which, in the words of Loren Schoenberg, "sets a new standard for Jazz performance .... [lt is] So what we have, if we step back into our common heritage, is a musical expression of "E Pluribus Unum" - an ensemble matched only by the great bands of yesteryear." The other thing is that the music itself expands "out of many, one." We hear music that takes us around the world in twelve movements and brings with it upon what Schoenberg observed about the composer in The Curious NPR Listener's Guide to Jazz: "Marsalis's many associations, but the central force arrives from the Negro American idioms of folk song, ragtime, blues, music transcends the artificially induced demarcations of "style" that tend to divide the Jazz world, by arriving Spirituals, Gospel, New Orleans jazz.
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