Above: Sydney Symphony Orchestra Concertmaster Andrew Haveron congratulates Wynton Marsalis. Featured image: the combined orchestras, choir, vocal consort and soloists assembled to present this large work in the Sydney Opera House Concert Hall. Photo credit: Craig Abercrombie.
We are currently enjoying an exciting visit to Sydney for a collaboration with Sydney Symphony Orchestra by legendary trumpeter and composer Wynton Marsalis and the Jazz at Lincoln Center Orchestra.
This musical trip got off to a scintillating start with the sold out performance of Marsalis’ sprawling work ‘All Rise’ at the Sydney Opera House Concert Hall.
This work was first recorded with the Los Angeles Philharmonic Orchestra in 2002. Inspired by multicultural America and a melange of musics from jazz, swing and blues through to Afri-Cuban, Argentinian and Latin dance styles.
With the jazz band positioned at the heart of the SSO on the concert Hall stage, there was an electric and eclectic range of sound combinations produced.
An unmistakable groove, superb soloing and a series of incredible effects from the Jazz At Lincoln Center players emerged from this placement and were well matched by SSO realising Wynton Marsalis’ score for this twelve-movement work.
Above: Wynton Marsalis, omposer of ‘All Rise’, takes a bow, Photo Credit: Craig Abercrombie.
Added to this unique tapestry from the presentation of this ‘jazz-symphony-oratorio’ was the Sydney Philharmonia Choirs-and The Consort of Melbourne propelling the work forward and troping the blend of instrumental styles with text. They were joined by guest singers Emma Pearson and Michelle Nicolle adding solos in the styles of jazz and gospel.
This large assembly of diverse forces was a visual and sonic treat. As the work progressed through movements containing text or not, the journey towards forgiveness, self care and strength for all peoples built until the joyous freedom of being able to ‘rise’ was celebrated at the work’s conclusion.
On a musical level, some amazing trumpet solos from Marsalis and band members brought classic jazz sounds to us. Advanced use of effect mutes in brass depicted characters or emotions in the narrative and extended the groove, as did cleverly placed screams on horns and the use of washboard percussion for a traditional flavour within the symphony.
Idiomatic trombone solos were also a treat for us on the night, emerging from the midst of the SSO on the concert Hall stage. The classical and jazz orchestral timbres were used to collaborate on producing some unique effects throughout the impressive work.
Above: Conductor Benjamin Northey harnessed the huge instrumental and vocal forces in this performance of ‘All Rise’. Photo credit: Craig Abercrombie.
Some programmatic elements such as tuba and trombone speaking as preacher and deacon were other fine manipulations during the classical and jazz music fusion, and the cultural blend.
The choir performed energetically, delivering sudden outbursts, dancing, clapping and chant-like delivery of each stage-of-life description. Their charismatic eloquence and ability to meet Marsalis’ expressive goals took the instrumental blend below to new heights.
This work was a treat to witness. The power of a seamless collaboration between Marsalis and his jazz orchestra and our local symphony orchestra was a joy to hear and see. The chance to hear Marsalis’ clever work that exudes openess, tolerance plus acceptance of our multicultural world is a beautiful thing.
We looked on as this work was heard on our shores. One moment we applauded jazz soloing, the next we were in oratorio mode, then we marvelled at the latest versatility shown from the busy SSO during its 2023 season.
No matter how elements from several instrumental, orchestral and choral performance practices were combined, the music and this project emphasised a care for humanity, human development and used performance excellence to ensure performers, audience and the Arts all rose to dizzying wholesome heights as a result of this event.