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Kansas City's Online Journal of the Performing Arts

How often does one have the opportunity to hear an NEA Jazz Master perform in one of DownBeat’s best jazz venues? Jazz lovers in Kansas City enjoyed just such a chance last Friday night when New Orleans pianist Ellis Marsalis performed at the Folly Theater. Marsalis and his musical sons were recently named 2011 NEA Jazz Masters from the National Endowment for the Arts—“the nation’s highest honor in jazz” and the first group award in the program’s history—and our own Folly Theater made the list of 150 best jazz venues in this month’s DownBeat magazine.

The Quartet's set consisted of a fresh and uncomplicated take on straight-ahead modern jazz, featuring tunes by Thelonious Monk, Herbie Hancock, the Modern Jazz Quartet, and Ellis Marsalis. The first half was enjoyable if a bit uniform in tempo, but the second half was quite varying in styles and included my two favorite songs on the program. “Emily,” a ballad composed by fellow 2011 NEA Jazz Master Johnny Mandel, opened with a sensitive, beautiful piano solo and had a few compelling harmonic and rhythmic twists. The Quartet’s version of “Sweet Georgia Brown” was a fun surprise—a fresh and funky approach to the old 1920’s standard. Another highlight was Marsalis’ encore: a sweet and relaxed yet bouncy slide piano solo.

Marsalis has an unassuming dignity on the stage. His movements were minimal but his concentrated yet effortless playing was lively and expressive. While he appeared very distinguished and serious, Marsalis’ deadpan sense of humor was apparent when he addressed the audience and in his solos into which he sneaked clever musical quotes such as Fucik’s Entry of the Gladiators, “The Irish Washerwoman,” and the Looney Tunes outro theme. Marsalis’ playing was understated; each necessary note was placed deliberately, giving a certain depth to every seemingly simple phrase.

A fine group of musicians make up Marsalis’ quartet, all impressive in their own right and highly attuned to each other. Saxophonist Derek Douget had an especially smooth tone on soprano with just a touch of vibrato. Bassist Jason Stewart was nimble and steady with great intonation throughout the night, laying down a strong foundation on each song. Drummer (and youngest Marsalis son) Jason Marsalis was a delight—persistent, super tight, and energetic with a constant smile on his face. All solos were well crafted and creative with clear arcs, related ideas, and well-timed climaxes. No one took undue advantage of their time soloing.

The evening had a few rare minor weak moments, mostly related to balance and mix. The bass was muddy during its solos, the tenor saxophone bordered on inaudible in its low range, and on one unison melody the sax and piano were slightly out of tune. These were all minimal though, and the overwhelmingly excellent musicianship overcame any slight flaw.

The nearly 400-strong audience was entranced and respectful, grateful to watch this venerable founding father of modern jazz present his interpretation of uniquely American and truly timeless music.

REVIEW:
Folly Jazz Series
Ellis Marsalis Quartet
Friday, February 11, 2011
Folly Theatre
12^th and Central Streets, Kansas City, MO
For more information visit www.follytheater.org

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.