The House of Swing at Columbus Circle presented two compositions commissioned by Wynton Marsalis for his Jazz at Lincoln Center Orchestra.
Terry Waldo appeared on stage after an intermission to announce modestly—Waldo World. He represented is as the beginning of “Ragtime Into Swing” starting with the banjo, followed by “Bix Lix” with chord changes impressionistic for five saxes followed by “Striding Into Swing” from James P. Johnson into Duke Ellington’s influence. Terry Waldo introduced a young Gavin Rice as banjoist and identified Sam Chess, in the audience, for contributing a knowledge of orchestrating for Wynton’s musicians.
A refreshing syncopated banjo opened and Terry Waldo’s piano answered that continued with each band section, obviously fun to play! Individual scenes mimicked musicians vaudeville showmanship in seven minutes. Way too short!
All these recognizable voicings’ will make a great opener for a jazz history program.
The other Wynton Marsalis commission was composed by Dr. Michael White who entered stage right with clarinet in hand to explain how a NOLA Social Club might give a dance that would include early composers like Morton and major and minor blues he titled New Orleans Humbug.
His text follows:
NEW ORLEANS HUMBUG
Composed by Dr. Michael White
Michael White-clarinet with the J@LC Orchestra
“New Orleans Humbug” is like a Crescent City social club gathering in which various members comment on the right way to give a dance. The song was inspired by the 1920s and early 1930s big bands of King Oliver, Jelly Roll Morton, Luis Russell, and Duke Ellington—who all used and expanded elements from classic New Orleans Jazz, like the growl cornet, rich-toned clarinet, and the solo styles of Oliver, Louis Armstrong, Sidney Bechet, and others. The tuba and banjo in the rhythm section are a bridge between early jazz and later big bands which helped to give those transitional orchestras their unique sound. Here various themes and interludes set up solo commentary in minor and major blues sections before a mood change that eventually erupts into brief sections of everyone “talking” at the same time—thus the “humbug.” These short excursions into joyous united chaos are unusual for a big band but are common in New Orleans at the end of a musician’s jazz funeral in which dozens of musicians form a massive brass band and collectively jam in a “second line” procession that can go on forever.
The tuba of Chris Crenshaw opened followed by a trumpet sounding like Louis Armstrong by Ryan Kisor, Sean Mason’s syncopated piano (Earl Hines), Gavin Rice- banjo (Danny Barker), brass street sounds (trombones and Wynton led trumpets), into Michael White’s chalumeau clarinet that evoked the low wooden blues sound so prevalent in pre-swing era. Then it really swung with four clarinets as Michael watched, joining off mic. A recognizable melody developed I’ll call “Humbug” that was restated in a glorious cacophony!
Both pieces add to the canon of compositions that reflect the past with unique and creative melody.
© 2/8/2025 Daniel Kassell Watch Jazz Happen (866-411-JASS)
This article©2023 Daniel Kassell Watch Jazz Happen.Daniel Kassell is a member of the Jazz Journalists Association, a Live-performance Videographer, andarecognized Jazz Marketer by the Jazz Foundation of America.Write him atJazzManDan@yahoo.com.
