There is perhaps no more inspirational rags-to-riches tale than the tale of this music, for it rose from a variety of closed social circumstances to international recognition. That is why the story of jazz is one of the grand tales of do-it-yourself invention evolving into a set of fundamentals that met the standards of artistic majesty by absorbing and extending all useful information, no matter how basic or complex. What the jazz musicians represents is the victory of the common citizen, or the uncommon citizen from common circumstances. In jazz, the democratic imperatives of talent determines success, nothing else-not who your father or mother might be, what your sex is, where you come from, what you worship, how much you have in the bank or stand to inherit. These are the central elements that distinguish jazz from other musics, and through those fundamentals great talents and innovators have always had their say, sustaining and extending our most democratic art, bringing the dreams of our most enlightened social propositions into the arena of aesthetic vibrance. We hear the fire of fundamentals that are reinterpreted over and over by jazz musicians, regardless of school-blues, ballads, 4/4 swing, Afro-Hispanic rhythms. The music is not dry and academic because both young and veteran jazz musicians and composers are mightily realizing their artistic ambitions through the subtle to explosive elements that make the art such a profound part of our national heritage. Resulting from the first part of that mission is music that exhibits the language of Jelly Roll Morton, of Duke Ellington, of Kansas City, of Charlie Parke, of Thelonious Monk, Miles Davis, Jimmy Heath, Betty Carter, and John Coltrane. The performances selected for this document are part of our mission at Lincoln Center, which is to first present first class performances, regardless of style to create a viable jazz canon to provide education for young musicians and listeners and to build a jazz archives worthy of the music and the premier arts complex in America. It is arrived at through aspects of a developing canon rich with vitality. To some extent, this recording of performances gathered from concerts presented by Jazz At Lincoln Center is a history of the art. Betty Carter sings a spacy version of “You’re Mine You,” Marcus Roberts returns for a solo rendition of Morton’s “The Crave,” the Wynton Marsalis Sextet interprets Miles Davis’ moody “Flamenco Sketches” and vocalist Milt Grayson finishes the CD anti-climactically with the ballad “Multi Colored Blue.” It’s an interesting if not essential set with plenty of variety and many worthwhile performances. A fine octet with clarinetist Michael White, trumpeter Wynton Marsalis and pianist Marcus Roberts do an effective re-interpretation of Jelly Roll Morton’s “Jungle Blues,” pianist Kenny Barron strides enthusiastically on a solo version of Thelonious Monk’s “Trinkle Tinkle” and Jimmy Heath’s soprano playing is showcased on “Ellington’s Stray-Horn.” Pianist/vocalist Jay McShann re-creates “Hootie Blues,” pianist Marcus Roberts romps through Monk’s “Bolivar Blues” and then “Dahomey Dance” offers particularly strong solos from a septet with Marsalis and tenorman Todd Williams.
This CD, which actually features the Lincoln Center Jazz Orchestra on only two selections, has highlights from a variety of concerts held at Lincoln Center during 1991-1993.
Jazz At Lincoln Center Presents: The Fire Of The Fundamentals
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