Wynton Marsalis
20 August / 2pm
Arts Centre Melbourne, Hamer Hall
All Rise: Jazz at Lincoln Center Orchestra with Wynton Marsalis and the MSO
25–26 August / 7.30pm
Arts Centre Melbourne, Hamer Hall
In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham Fraillon AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.
The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.
In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.
As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.
I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.
— Deborah Cheetham Fraillon AO
JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS
Wynton Marsalis music director/trumpet
Jazz at Lincoln Center Orchestra
WYNTON MARSALIS
All Rise, Symphony No.1
Benjamin Northey conductor
Warren Trevelyan-Jones chorus director featuring Melbourne Symphony Orchestra
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Consort of Melbourne
Emma Pearson soloist
Michelle Nicole soloist
MSO Chorus
Damien Sneed choral consultant
In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.
With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performances, education, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, “The House of Swing”) and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Clarence Otis, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl. Please visit us at jazz.org.
The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988 and spends over a third of the year on tour across the world. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads educational events in New York, across the U.S. and around the globe; in concert halls; dance venues; jazz clubs; public parks; and with symphony orchestras; ballet troupes; local students; and an ever-expanding roster of guest artists. Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus, and current and former Jazz at Lincoln Center Orchestra members Wynton Marsalis, Wycliffe Gordon, Ted Nash, Victor Goines, Sherman Irby, Chris Crenshaw, and Carlos Henriquez.
Throughout the last decade, the Jazz at Lincoln Center Orchestra has performed
with many of the world’s leading symphony orchestras, including the New York Philharmonic; Cleveland Orchestra; Philadelphia Orchestra; Czech Philharmonic; Berlin Philharmonic; Boston Symphony Orchestra; Chicago Symphony Orchestra; London Symphony Orchestra; Sydney Symphony Orchestra; Melbourne Symphony Orchestra; St. Louis Symphony Orchestra; Los Angeles Philharmonic and many others. Marsalis’ three major works for full symphony orchestra and jazz orchestra, All Rise –Symphony No.1 (1999), Swing Symphony – Symphony No.3 (2010), and The Jungle – Symphony No. 4 (2016), continue to be the focal point of Jazz at Lincoln Center Orchestra’s symphonic collaborations.
The Jazz at Lincoln Center Orchestra has also been featured in several education and performance residencies in the last few years, including those in Melbourne, Australia; Sydney, Australia; Chautauqua, New York; Prague, Czech Republic; Vienna, Austria; London, England; São Paulo, Brazil; and many others.
Education is a major part of Jazz at Lincoln Center’s mission; its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz at Lincoln Center Orchestra members, include the celebrated Jazz for Young People™ family concert series; the Essentially Ellington High School Jazz Band Competition & Festival; the Jazz for Young People™ Curriculum; Let Freedom Swing, educational residencies; workshops; and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach over 110,000 students, teachers and general audience members.
Jazz at Lincoln Center, NPR Music and WBGO have partnered to create the next generation of jazz programming in public radio: Jazz Night in America. The series showcases today’s vital jazz scene while also underscoring the genre’s storied history. Hosted by bassist Christian McBride, the program features hand-picked performances from across the country, woven with the colorful stories of the artists behind them. Jazz Night in America and Jazz at Lincoln Center’s radio archive can be found at jazz.org/radio.
In 2015, Jazz at Lincoln Center launched Blue Engine Records (www.jazz.org/ blueengine), a new platform to make its vast archive of recorded concerts available to jazz audiences everywhere. The label is dedicated to releasing new studio and live recordings as well as archival recordings from past Jazz at Lincoln Center performances, and its first record – Live in Cuba, recorded on a historic 2010 trip to Havana by the Jazz at Lincoln Center Orchestra with Wynton Marsalis – was released in October 2015. Big Band Holidays was released in December 2015, The Abyssinian Mass came out in March 2016, The Music of John Lewis was released in March 2017, and the JLCO’s Handful of Keys came out in September 2017. Blue Engine’s United We Swing: Best of the Jazz at Lincoln Center Galas features the Wynton Marsalis Septet and an array of special guests, with all proceeds going toward Jazz at Lincoln Center’s education initiatives. Blue Engine’s most recent album releases include 2020’s A Swingin’ Sesame Street Celebration and 2021’s The Democracy Suite featuring the JLCO Septet with Wynton Marsalis.
Wynton Marsalis is the Managing and Artistic Director of Jazz at Lincoln Center. Born in New Orleans, Louisiana in 1961 to a musical family, Mr. Marsalis was gifted his first trumpet at age 6 by Al Hirt. By 8, he began playing in the famed Fairview Baptist Church Band led by Danny Barker. Yet it was not until he turned 12 that Marsalis began his formal training on the trumpet. Subsequently, Wynton began performing in bands all over the city, from the New Orleans Philharmonic and New Orleans Youth Orchestra to a funk band called the Creators. His passion for music rapidly escalated. As a young teenager fresh out of high school, Wynton moved to New York City in 1979 to attend The Juilliard School to study classical music. Once there, however, he found that jazz was calling him. His career quickly launched when he traded Juilliard for Art Blakey’s band, The Jazz Messengers. By 19, Wynton hit the road with his own band and has been touring the world ever since. From 1981 to date, Wynton has performed 4,777 concerts in 849 distinct cities and 64 countries around the world. Mr. Marsalis made his recording debut as a leader in 1982 and has since recorded 110 jazz and classical albums, four alternative records, and released five DVDs. In total, he has recorded 1,539 songs at the time of this writing.
Marsalis is the winner of 9 GRAMMY Awards, and his oratorio Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. He’s the only musician to win a GRAMMY Award in two categories, jazz and classical, during the same year (1983, 1984).
Mr. Marsalis has solidified himself as an internationally acclaimed musician, composer and bandleader, educator and advocate of American culture. As a composer, his body of work includes over 600 original songs, 11 ballets, four symphonies, eight suites, two chamber pieces, one string quartet, two masses, one violin concerto, and in 2021, a tuba concerto. Included in this rich body of compositions is Sweet Release; Jazz: Six Syncopated Movements; Jump Start and Jazz; Citi Movement/Griot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. As part of his work at Jazz at Lincoln Center, Wynton has produced and performed countless new collaborative compositions, including the ballet Them Twos, for a 1999 collaboration with the New York City Ballet. That same year, he premiered the monumental work All Rise, commissioned and performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir. All Rise was performed with the Tulsa Symphony Orchestra as part of the remembrance of the centennial anniversary of the Tulsa Race Massacre in June 2021. Since the onset of the COVID-19 pandemic, Wynton and the Jazz at Lincoln Center Orchestra have released 7 full-length albums and 4 singles on Blue Engine Records.
Mr. Marsalis is also a globally respected teacher and spokesman for music education. For Jazz, Wynton led the effort to construct Jazz at Lincoln Center’s new home–Frederick P. Rose Hall–the first education, performance, and broadcast facility devoted to
jazz, which opened in October 2004. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People™ concerts produced by Jazz at Lincoln Center. In addition to his work at JALC, Wynton is also the Founding Director of Jazz Studies at the Juilliard School. Mr. Marsalis has written and is the host of the video series “Marsalis on Music,” the radio series “Making the Music,” and a weekly conversation series titled “Skain’s Domain.” He has written and co-written nine books, including two children’s books, Squeak, Rumble, Whomp! Whomp! Whomp! and Jazz ABZ: An A to Z Collection of Jazz Portraits, both illustrated by Paul Rogers. Wynton has received such accolades as having been appointed Messenger of Peace by United Nations Secretary-General Kofi Annan (2001), The National Medal of Arts (2005), The National Medal of Humanities (2016). In December 2021, Marsalis and Jazz at Lincoln Center were awarded the Key to New York City by Mayor Bill de Blasio. Marsalis has received honorary doctorates from 39 universities and colleges throughout the U.S, including Harvard, Yale, Princeton, and Tulane University in New Orleans. Wynton Marsalis’ core beliefs and foundation for living are based on the principles of jazz. He promotes individual creativity (improvisation), collective cooperation (swing), gratitude and good manners (sophistication), and faces adversity with persistent optimism (the blues).
Wynton Marsalis music director/trumpet
Ryan Kisor trumpet
Kenny Rampton trumpet
Marcus Printup trumpet
Vincent Gardner trombone
Chris Crenshaw trombone
The Golkin Family Chair
Elliot Mason trombone
Sherman Irby alto and soprano saxophones, flute, clarinet
Ted Nash alto and soprano saxophones, flute, clarinet, piccolo
Victor Goines tenor and soprano saxophones, clarinet, bass clarinet
Nicole Glover tenor and soprano saxophones, clarinet
Paul Nedzela baritone and soprano saxophones, clarinet, bass clarinet
Dan Nimmer piano
The Zou Family Chair
Carlos Henriquez bass
The Mendel Family Chair in honour of Kathleen B. Mandel
Obed Calvaire drums
Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.
Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.
With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.
In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li.
The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.
Australian conductor Benjamin Northey is the Chief Conductor of the Christchurch Symphony Orchestra and the Principal Conductor in Residence of the Melbourne Symphony Orchestra.
Northey also appears regularly as a guest conductor with all major Australian symphony orchestras, Opera Australia (Turandot, L’elisir d’amore, Don Giovanni, Così fan tutte, Carmen), New Zealand Opera (Sweeney Todd ) and State Opera South Australia (La sonnambula, L’elisir d’amore, Les contes d’Hoffmann). His international appearances include concerts with the London Philharmonic Orchestra, the Tokyo Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, the Malaysian Philharmonic and the New Zealand Symphony, Auckland Philharmonia and Christchurch Symphony Orchestras.
Northey studied conducting with John Hopkins at the University of Melbourne and Jorma Panula at the Stockholm Royal College of Music.
With a progressive and diverse approach to repertoire, he has collaborated with a broad range of artists including Maxim Vengerov, Julian Rachlin, Karen Gomyo, Piers Lane and many others.
In 2023, he conducts the Melbourne, Sydney, Adelaide, Tasmanian and Christchurch Symphony Orchestras and the Hong Kong Philharmonic.
The Consort of Melbourne is Melbourne’s premier vocal ensemble, bringing together the city’s finest chamber singers under the artistic direction of Steven Hodgson. Typically performing a capella (unaccompanied) with one singer per part, The Consort of Melbourne champions historic and contemporary repertoire, bringing 1000 years of vocal music to life with an intimacy and verve that leaves audiences spellbound.
Founded by Warren Trevelyan-Jones and Peter Tregear, the Consort gave its debut performance in September 2008. Since then it has presented regular concert series at the Melbourne Recital Centre and has been invited to collaborate with groups and artists including the Rolling Stones, Australian Chamber Orchestra, Melbourne and Sydney symphony orchestras, Song Company, Spiritualized, Ludovico’s Band, La Compañia, Genesis Baroque and drag legend Taylor Mac.
Major premiere performances include Deborah Cheetham’s Eumeralla in 2018 and Wally Gunn and Maria Zajkowski’s I heart Artemis in 2022, with whom they completed a prestigious UKARIA residency.
Frederica Cunningham Alto
Steven Hodgson Baritone
Timothy Reynolds Tenor
Whilst principal artist at the Hessisches Staatstheater Wiesbaden, Emma Pearson performed over 30 roles including the title roles in Lucia di Lammermoor, Alban Berg’s Lulu, Shchedrin’s Lolita, Cavalli’s La Calisto, and Zerbinetta ( Ariadne auf Naxos), Königin der Nacht (Die Zauberflöte), Sophie (Der Rosenkavalier), and Adele (Die Fledermaus). The State of Hessen awarded her the title of “Kammersängerin” (Ks).
Emma has appeared with Semperoper Dresden, Nationaltheater Mannheim, Theater St Gallen, Orquestra de Valencia, Minnesota Orchestra and in Bratislava with Bertrand de Billy. She has performed Fiordiligi (Cosi fan tutte), Semele (filmed by Greenstone), Contessa Almaviva (The Marriage of Figaro) and Gilda (Rigoletto) for New Zealand Opera; Violetta Valéry (La traviata) for Opera Queensland & Wellington Opera; Sophie, Queen of the Night and Contessa di Folleville (Il Viaggio a Reims) for Opera Australia; Lucia for Wellington Opera, and leading roles for Pinchgut Opera, West Australian Opera and State Opera South Australia.
Recent and upcoming engagements include Mozart’s Requiem with Tasmanian Symphony Orchestra, Messiah and Strauss Four Last Songs with New Zealand Symphony Orchestra, Armida (Rinaldo) for Pinchgut Opera, Christine de Medici (Galileo: Mills) for Victorian Opera and Elettra (Idomeneo) for Opera Australia.
Emma Pearson soloist
Michelle Nicole soloist
Michelle Nicolle has forged a reputation Nationally and Internationally as a formidable and creative jazz vocalist-musician. Her ability to get right to the heart of a song, whilst being a masterful improviser with the technique to match any instrumentalist has been recognised with a Bell Award (jazz vocal album of the year), Mo Award(s), National Jazz Award winner and 3-time A.R.I.A Finalist.
“...a free-ranging singer with sumptuous tone and exemplary intonation...” John Shand The NYC Jazz Record
“Michelle is a singer born to sing, born to charm, enlighten and seduce through music.” Kurt Elling
Releasing 9 albums and constantly touring Australia and Internationally, Michelle is steeped in the tradition of interpreting and reimagining the American Songbook whilst also arranging. composing, and leading her ensemble – The Michelle Nicolle Quartet.
“This is a voice Australia should be proud of.” Limelight Magazine
Michelle’s most recent album, The Bach Project (Earshift Music) richly embraces the music of J.S. Bach in the MNQ’s unique chamber jazz style.
An experienced educator, Michelle teaches at University of Melbourne, Monash University, and regularly tours Australia and USA as a clinician (Uni North Texas, University of Miami, CSU Northridge and CSU Long Beach).
Melbourne Symphony Orchestra Chorus Director Warren Trevelyan-Jones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone awardwinning group Ensemble Plus Ultra. Warren is also a qualified music therapist.
For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy, Manfred Honeck, Xian Zhang and Nodoko Okisawa, and is committed to developing and performing new Australian and international choral repertoire.
Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at the Anzac Day commemorative ceremonies.
The MSO Chorus is always welcoming new members. If you would like to audition, please visit mso.com.au/chorus for more information.
Dale Barltrop
Concertmaster
David Li AM and Angela Li#
Peter Edwards
Assistant Principal
Peter Fellin
Deborah Goodall
Karla Hanna
Lorraine Hook
Anne-Marie Johnson
David Horowicz#
Eleanor Mancini
Anne Neil#
Mark Mogilevski
Michelle Ruffolo
Matthew Tomkins
Principal
The Gross Foundation#
Mary Allison
Tiffany Cheng
Glenn Sedgwick#
Freya Franzen
Cong Gu
Newton Family in memory of Rae Rothfield#
Andrew Hall
Philippa West
Andrew Dudgeon AM#
Roger Young
Shane Buggle and Rosie Callanan#
VIOLAS
Lauren Brigden
William Clark
Gabrielle Halloran
Jenny Khafagi
Fiona Sargeant
Molly Collier-O’Boyle*
David Berlin Principal
Rachael Tobin
Associate Principal
Anonymous#
Rebecca Proietto
Angela Sargeant
Caleb Wong
DOUBLE BASSES
Rohan Dasika
Benjamin Hanlon
Di Jameson OAM and Frank Mercurio#
Suzanne Lee
Caitlin Bass*
Emma Sullivan*
Prudence Davis Principal
Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs
Andrew Macleod
Principal
Correct as of 3 August 2023
Learn more about our musicians on the MSO website
Michael Pisani
Acting Associate Principal
Ann Blackburn
The Rosemary Norman Foundation#
COR ANGLAIS
Rachel Curkpatrick
Acting Principal
CLARINETS
Philip Arkinstall
Associate Principal
Craig Hill
Rosemary and the late Douglas Meagher#
BASS CLARINET
Jon Craven Principal
Elise Millman Associate Principal
CONTRABASSOON
Brock Imison Principal
Nicolas Fleury Principal
Margaret Jackson AC#
Andrew Young Acting Associate Principal
Josiah Kop
Rachel Shaw
Gary McPherson#
TRUMPETS
Owen Morris Principal
William Evans
Rosie Turner
John and Diana Frew#
Mark Davidson
Acting Principal
Richard Shirley
Mike Szabo
Principal Bass Trombone
TUBA
Timothy Buzbee Principal
TIMPANI
John Arcaro
Tim and Lyn Edward#
Robert Cossom
Drs Rhyl Wade and Clem Gruen#
Nathan Gatenby
Lara Wilson
* Denotes Guest Musician # Position supported by
Shirin Albert
Philippa Allen
Emma Anvari
Julie Arblaster
Sheila Baker
Helena Balazs
Tina Battaglia
Anne-Marie Brownhill
Eva Butcher
Aliz Cole
Jillian Colrain
Veryan Croggon
Ella Dann-Limon
Laura Fahey
Rita Fitzgerald
Catherine Folley
Susan Fone
Nicole Free
Camilla Gorman
Emma Hamley
Penny Huggett
Gina Humphries
Tania Jacobs
Gwen Kennelly
Theresa Lam
Natasha Lambie
Judy Longbottom
Caitlin Noble
Susie Novella
Karin Otto
Amanda Powell
Tanja Redl
Jo Robin
Jodi Samartgis
Jillian Samuels
Julienne Seal
Jemima Sim
Fiona Steffensen
Katy Turbitt
Jillian Wood
Jasmine Zuyderwyk
ALTO
Satu Aho
Ruth Anderson
Margaret Arnold
Catherine Bickell
Cecilia Björkegren
Kate Bramley
Jane Brodie
Alexandra Chubaty
Juliarna Clark
Marie Connett
Nicola Eveleigh
Lisa Faulks
Jill Giese
Debbie Griffiths
Ros Harbison
Jennifer Henry
Yvonne Ho
Helen MacLean
Christina McCowan
Rosemary McKelvie
Penelope Monger
Kate Rice
Helen Rommelaar
Kerry Roulston
Annie Runnalls
Lisa Savige
Libby Timcke
Jenny Vallins
Claudia Funder
Sophia Gyger
Adam Birch
Kent Borchard
Steve Burnett
Allan Chiang
Simon Gaites
Daniel Griffiths
Fergus Inder
Michael Mobach
Jean-Francois Ravat
Colin Schultz
Cameron Tait
Stephen Wood
Maurice Amor
José Miguel Armijo Fidalgo
Kevin Barrell
Stephen Bordignon
Roger Dargaville
Ted Davies
Simon Evans
Elliott Gyger
Andrew Ham
John Hunt
Jordan Janssen
Douglas McQueen-Thomson
Vern O’Hara
Douglas Proctor
Maciek Zielinski
The Jazz at Lincoln Center Orchestra and Wynton Marsalis repertoire will be announced from the stage.
The 20 th was the century of communication. The 21 st will be the century of integration. Our rapidly developing global community is the most exciting modern reality. But to the first jazz musicians in New Orleans, Louisiana, some 100 years ago, the global village was already real. Pianist and composer Jelly Roll Morton said, “We had all nations in New Orleans, but with the music, we could creep in closer to other people.” Today the world is so small, we don’t need music to creep in closer to other people: we are close. The larger question of this moment is how will we translate our differences into a collective creativity? That’s where the blues comes in. The blues in an approach to harmony, a way of rhythm and a body of vocal textures sung through horns. It’s a melodic attitude featuring minor in the major mode and major in the minor mode, the pentatonic scales of Eastern music, the quarter tones and altered scales of Near and Middle Eastern music. The blues is call and response, as well as the high shuffle of a cowbell in some thick African drum stretto. But mostly, it is an attitude towards life, celebrating transcendence through acceptance of what is and proceeding from there in a straight line to the nearest groove. With the blues you got to give some to get some.
All Rise is structured in the form of a 12 bar blues. It is separated into three sections of 4 movements. Each section expresses different moments in the progression of experiences that punctuate our lives. It is a personal
and communal progression. The first four movements are concerned with birth and self-discovery; they are joyous. The second four movements are concerned with mistakes, pain, sacrifice and redemption. They are somber and poignant. The last four are concerned with maturity and joy. All Rise contains elements of many things I consider to be related to the blues: the didgeridoo, ancient Greek harmonies and modes, New Orleans brass bands, the fiddler’s reel, clave, samba, the down home church service, Chinese parade bands, the Italian aria, and plain ol’ down home ditties. Instead of combining many different styles on top of a vamp, I try to hear how they are the same. In attempting to unite disparate and large forces, everyone has to give up something in order to achieve a greater whole. The jazz band has to play more 2/4 marches and ostinato bass grooves, while the orchestra has to adapt to a percussive roughness and the metronomic dictates of a rhythm section. The choir must do lots of waiting. The fun is in the working together.
We are created in joy and we love to create. The main theme is a little riff my great Uncle Alfonse, who was born in 1883, used to sing to me when I was boy.
This movement is a march. Jazz, ragtime, the fiddler’s reel, and most South American dance rhythms are connected through the march. The
Wynton Marsalis: All Rise, Symphony No.1.men sing “Ah Zum,” to mean from the beginning to the end in one instant, and then we begin. The “Ah” also means “and,” as if to say our beginning is a continuation. Soon everything starts spinning and then the families (strings, woodwinds, percussion, etc.) dance together. In the introduction, the jazz band plays small samba drums called tambourin and progresses from elemental syncopation to an involved Latin rhythm called “cascara.”
The harmonic direction is ambiguous. It could be in F major or C dominant or D minor. In the middle vocal section the men sing “M-m-m-m” as if calling for their mothers, and the women sing “Da-da-da-da-da” as if calling for their daddies. The orchestra is in F Dorian while the choir sings blues in E flat and C. Because every march must have a trio, there is a trio section for flute, bassoon and clarinet. Then the jazz band enters on an A flat dominant 7 chord, implying minor blues in the key of C. The orchestra returns for what will be an extended coda featuring African inflected moving bass with open orchestral chords, a syncopated blues riff in the jazz band and the “cascara” rhythm in the percussion.
The joy of play.
This is based on a little chant my son Simeon sang for about two hours on a train ride. It begins in the key of C sharp major and ends in D flat major with many modulations in between. It is a form of danzon that utilizes what we call New Orleans clave. It features juxtaposition of the low and high registers and a repeated teasing theme with wa-wa trumpet or trombone. It also has samba and bossa nova rhythms, as well as a type of counterpoint that comes from New Orleans jazz.
From the cradle to the grave everyone loves love. Getting it and giving it.
The form of this movement follows the process of emotional maturation in romantic matters. The opening waltz is naïve and adolescent. It is a pastoral folk theme which progresses down a cycle of fourths from D to A to E to B to F sharp to C sharp to A flat major. The jazz band orchestra enters in the key of A flat with an unusual type of integrated harmonic voicing. This section is sensuous, adult and active. It culminates in a piano solo that features six bar phrases. The last section combines the jazz and symphonic orchestras in a typical jazz-with-strings type format plus a few unusual blues twists. This last rung of the romance is wistful and aged.
We discover we can do wonderful things, get the big head and get lost in a labyrinth of our own magnificence.
This movement is the country fiddle with well-rooted bass in the key of A major. It questions whether the American school of fiddle playing, simpler in harmony but stronger in groove, should not have received more attention form American composers. Each section – violins, violas, cellos and bass – is introduced one at a time before the main theme enters. The wild strumming on open strings is full syncopated juxtaposition with the bass utilizing melodic fourths found in some types of African music and the treble using the open string scrapings of the country fiddle. I used three different modes of exposition in this movement: 1) the chorus format of jazz and all-American popular music, 2) fugue, and 3) a groove in the African six-eight clave which is stated by trumpet and horns.
We mess up.
No use to beg, but the name of the Lord will be found on everybody’s lips in times of crisis. The drums of war recycle the relationship of a battalion of Brazilian tambourin in call and response with a battery of percussion. The cowbell articulates the African six-eight clave. An alternating vamp of five-four and six-four in the key of F minor leads to a new harmonic progression and groove, in the style of John Coltrane. On top of this groove is a string counterpoint led by two saxophones. Two trombones improvising presage the funeral procession in the next movement. Then we hear a different concept of the blues harmony with the teeming choir against the solo cries of “Save us” and “For we know not what to do.” The choir uses a fragment of the fugal theme from movement four to express “Help us, oh Lord.” A trumpet solo in response to the cries of “Save us” declares “Permission denied.” Then the brass slaps with saxophone scurrying; this evokes the scrambling that goes on whenever the bright light of justice is shone on dense segments of willful darkness. Wess, in his inimitable style, ends this movement with a soulful cry.
We suffer. After crying for denied mercy we move on to death.
This movement begins with the New Orleans funeral that is always initiated by the solo trombone. Vic provides the proper Crescent City filigree on his clarinet. We then progress to the English Brass Choir, followed by the solo violins – all in mourning, the first signs of healing. The reverend shouts a sermon in the tradition of the Afro-American church. The tuba preaches, the French horns are the choir, the jazz trumpet is a sister in the back of the church, and the
jazz trombone of Ron Westry is the elder deacon and chief co-signer. After the sermon the choir sings of the arrogant and self-aggrandized viewpoints that always lead to gross inhumanity in the name of God and in the name of Jesus. This movement progresses from C minor to F major to D minor to A minor. To A something or another.
We ask forgiveness and are redeemed. After some introductory passages, the pastoral main theme is stated by bass, then cello, then viola. Each statement is answered by bass, clarinet and alto saxophone of the jazz band. With each reiteration the theme becomes more syncopated under the influence of a washboard-inflected groove. The washboard is the folk element of the blues that cannot be corrupted. It represents the strength to resist overrefinement and willful descent into ever more elite forms of intellectual masturbation that often replace basic human engagement. A washboard puts you right in the laundry room where souls are cleansed and replenished. “Look beyond” means look past what you have been taught, what you want, what you feel. Beyond what is expected. Beyond all judgment – to what you know. This is sung to a backbeat which represents under-refined forms of human engagement that preclude the type of thought, sophistication and feeling that enriches civilization. We look beyond that static groove to the fluid motion of swing. This movement progresses through the keys of A flat major, F major, G major and D dominant.
We are forgiven and welcomed home. This movement features the brass and percussion. In the first movement
everything spins. Here, the brass bounces and throbs with the same motion and basic melodic structure. The low brass appear periodically in a “God’s trombones” type of response derived from Afro- and Anglo-American folk music. This piece stays in the key of F major because once you get home there’s no place else to go. The brass, woodwinds and strings say their piece and the jazz orchestra returns again and again to repeat the same phrase, “Welcome Back Home.” A Printupian trumpet solo further clarifies “Welcome” because to swing means to welcome. In the end the choir comes from the contemplative space of suffering and resolve that produced the majestic Negro Spirituals.
We are reborn in joy.
The deepest expression of joy short of spiritual rapture is romance. And romance’s calling card is dance. This movement is an integration of various types of Latin dances, from Argentinian Milonga to Afro-Cuban Mambo. There are periodic rubato solo sections for the man (cello) and woman (violin) to work things out. We end with a big coda in the style of the large South American dance orchestras.
Who doesn’t love trains? From the toy train to the express train to the bullet train to John Coltrane.
The train also has symbolic significance for the Afro-American. From Duke Ellington’s Track 360 to Aaron Copland’s John Henry, the train is freedom and power. Train tracks often delineate black and white neighborhoods in the south. The Underground Railroad was the Freedom Train. The Gospel Train is the Glory Train. The basic shuffle of the blues is the chugging of engine and wheels. The cries, shouts and exhortations of
horns are many, many train whistles tooting at will. Even the complicated lines of bebop have a relationship to the big country swing of the Western train. Charlie Parker was from Kansas City. They know about trains there.
The slow blues – unsentimental romance, wise love, a dance, an attitude, a modality.
The slow drag – vertical expression of the most salacious horizontal aspirations.
Saturday night – when things that should be confessed on Sunday take place.
Sunday morning. God’s love calls us to rise to the complete fulfillment of who we are. We choose how high and how soon. From the I AM of materialistic self-aggrandizement to the great I AM of brotherhood, sharing and love. There is no greater journey or battle for individuals or groups. The act of rising is itself thanks for God’s love which is the source of all life and creativity.
All Rise was commissioned by the New York Philharmonic and Kurt Masur as the last of the millennial compositions of 1999. This piece for me was the culmination of a ten-year odyssey during which I sought to realize more complex orchestrations for long form pieces based in American vernacular music and jazz.
I devoted every single day of 1999 to working on composition, recording and performance in gratitude to my many friends, fans and colleagues around the world for the more than many wonderful experiences I have enjoyed in my 20 years of playing. I wanted to give thanks to God and reaffirm my commitment to continued creativity. In this year, fourteen diverse recordings were
released; new arrangements for big band and symphonic orchestra of four Duke Ellington pieces including A Tone Parallel to Harlem were completed; the LCJO conducted a year-long celebration of Ellingtonia with 70 performances across the US and Europe; a new ballet, Them Twos (my first composition for orchestra) was performed by the New York City Ballet; and ultimately, All Rise was premiered at the end of December. All Rise required a notebook full of structural details and written thematic relationships. James Oliverio and teams of copyists were exhausted, and Victor Goines copied jazz band parts through his Christmas holiday.
After the NY Philharmonic premieres on December 29 and 30, 1999, it took six months for me to recover. The last thing I wanted to hear or think about was this piece. The next performance took place in Prague with the Czech National Orchestra conducted by Vladimir Valek in October of 2000. The audience response was overwhelming.
In February 2001, I sent a score and recording of this performance to EsaPekka Salonen. Some 18 years earlier Esa-Pekka and I had recorded an album of trumpet concertos. Through the years we maintained a very high level of professional respect for one another. He agreed that we would perform All Rise with the Los Angeles Philharmonic on September 13, 2001. Because we are both Sony Classical artists, we felt that with proper negotiations a recording would be possible. With much strategizing and calling on friendships and professional relationships, The Lincoln Center Jazz Orchestra, the Los Angeles Philharmonic, the Morgan State Choir from Baltimore under Nathan Carter, the Paul Smith Singers and the Northridge Singers of California State University at Northridge all came together to perform and record All Rise. Many of Jazz at Lincoln Center’s senior
management came out for the event, and a truly warm feeling surrounded our first rehearsals.
The came the attacks of September 11th. Jazz at Lincoln Center Director of Publicity Mary Fiance Fuss called to tell me a plane had flown into one of the twin towers. As we watched the news, we caught the second plane hitting the second tower. Within minutes everyone in the band was on the phone. Later that day, a meeting was called to discuss what to do. The decision was unanimous: stay and play. Our next rehearsal was made forever memorable by the outpouring of concern and love from the members of the Los Angeles Philharmonic. Initial portions of our September 13th concert appeared on CNN; the station broke from Ground Zero coverage to broadcast our joint performance of The Star‑Spangled Banner. The performance, though justifiably somber, was energetic and meaningful.
The recording was another issue. Due to the suspension of national air travel, our producer, Steve Epstein, perhaps the only person in the world with the experience to make a quality recording of such large and diverse musical forces, was stranded in Kansas City. And our engineer, Todd Whitelock, was stranded in Detroit. With the recording scheduled for September 14th, we were in trouble. As we were about to cancel the recording, several uncommon acts of dedication saved the sessions. A close personal friend and colleague, “Boss” Dennis Jeter, was driving from Los Angeles to New York to tend to a family crisis. When called, he drove to Kansas City and brought Steve Epstein to Rifle, CO, where our road managers, Raymond “Big Boss” Murphy and Eric Wright, were waiting to drive Steve on to L.A. Rodney Whitaker, our bassist from Detroit, called Koli Givens, a trumpeter and close personal friend. Koli and his
cousin, Quintin Givens, drove non-stop from Detroit to L.A. and delivered our engineer. Even though time was limited and the recording schedule was tight, a deeper sense of community and inspiration guided us through these sessions.
After the recording the Lincoln Center Jazz Orchestra was scheduled to play Benaroya Hall in Seattle, WA. We drove 27 non-stop hours by bus directly from the session to the stage. Waiting for us on the bus were pillows and blankets for the entire band provided by Evan Wilson (violinist, Los Angeles Philharmonic) and his family, a gesture of friendship and love that will forever remain with the LCJO. Our concert was scheduled to begin at 7.00pm. – we entered the city limits at 7.00pm. Out on the stage we received an extended standing ovation from a sold-out house that had waited patiently to be, in the words on one patron, “reminded of who we are.” The LCJO was back on the road. We heard that some acts chose to cancel their tours following September 11th. We chose, and still choose, to swing.
© Wynton Marsalis1. JUBAL STEP
Ah Zum.
II. A HUNDRED AND A HUNDRED, A HUNDRED AND TWELVE
A hundred and a hundred, a hundred and twelve.
A hundred and a hundred, a hundred and twelve.
A hundred and a hundred, a hundred and a hundred, and a hundred and twelve.
4. SAVE US
(General hollering and sounds of discomfort, chaos and angst)
Comfort me, comfort me
Save us, O Lord
For we know not what we do.
Help us, O Lord
For we know not what we do.
O Lord, have mercy on us.
Please Lord, please Lord Mercy, mercy
Forgive me.
Save us, O Lord
For we know not what we do.
Help us, O Lord
Set me free.
6. CRIED, SHOUTED, THEN SUNG
Our fellow man, Break him up, where him stand, Slap away him open hand.
Steal him gold and take him land. Then give him Jesus.
Jesus, save him soul, Jesus.
Oh cry his children, Hear them cry aloud. So, mock our children, hear them
Sanctify the lies we’ve sold. And that same Jesus
Come to save our souls. Ride on, King Jesus.
Teach us to be Our fellow man, In him in me, All sing freedom, freedom. Let it ring, freedom, Was always is and will be. Oh Freedom, freedom, freedom. In the name of Jesus be. Beyond.
7. LOOK BEYOND
Thy will be done on earth as it is in heaven.
Almighty God, Thy love is forever healing.
Hosanna in the highest. All glory in Thy holy name. Hosanna. Look beyond, look beyond. Beyond
Raise your hands and praise the Lord. Hallelu.
Raise your voice and praise the Lord, O Hallelu.
Raise your hearts and feel the Love of our God.
Let God be what He is in you.
Little David come play your harp, And the angels sing.
I hear Gabrielle a-blowin’ her horn.
Baa-bee-doo-bee, doo-bee
Baa-bee doo-bee-doo
Baa-doo-bee doo-bee doo-bee
God is calling us. “Come back home.”
You keep on knockin’ but you won’t come in.
You keep on walkin’ past the house He’s in.
He’s always home, don’t you mind what they say,
And not one soul is ever turned away. Yes, the Lord’s always here to hold our hands.
And He say come back home. Come by Lord, come by Lord.
Hear me prayin’ won’t you come by Lord.
In my deep sorrow did our Lord appear. A song He giveth me to calm my fears. Come by Lord, come by Lord.
Hear me prayin’ won’t you come by Lord.
In His song my soul abides. In every cry and joyous shout, I AM PRESIDES.
We offered You our song to harmonize. Our song, healing.
Come by Lord, come by Lord, Hear me prayin’, won’t you come by Lord.
O my Lardy, won’t you come by here, O sweet Jesus, won’t you come by here. Save our souls, Lardy, save our souls, Save our souls, Lord, save my soul.
Hear me prayin’ won’t you come by Lord.
Bleed my song till it sings untrue, Still I’m gonna sing my song in blue. Glory train coming through.
Help us Lord sing our souls, sing our song.
Yes the Lord’s always here to hold our hands.
And He say come back, and He say come back, And He say come back home.
I say All Rise, And be heard. And now All Rise, Choose to be.
Oh, hear the cry of God’s sweet love Call to be who you are. All choose, all see, all rise, all be, the love of God, To praise His name.
All Rise, All Rise, give thanks for all life. Zurn, zum, zum, I am, I am, I am.
Thy will be done.
Lord, comfort me.
I am. All Rise. For the glory of God.
Thy will be done, Lord comfort me. Look beyond, look beyond, higher. Look higher, look higher and higher I am. Look beyond. All Rise.
Listen up and hear me sing my song
I’m a-sing it loud and long.
Oh! And don’t you think that you can feel my song
Lest you comfort me.
You runnin’ around, oh you grabbin’. Wantin’ to buy everything you see. What’s bought won’t make you be.
Oh. why don’t you tell me
Why you keep on pushin’ me ‘round
And knockin’ me down.
Can’t you see that I’m gonna rise and rise and,
Oh yes! Our Lord has given us all
Something that just refuses to die
Open your heart and see,
Then you’ll hear the sweet soul
Of what I sing.
It’s for you and for me.
Oh, don’t you run, baby don’t you run, Don’t you run from me.
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Melissa Douglas
Cybec Young Composer in Residence
Christopher Moore
Creative Producer, MSO Chamber
Deborah Cheetham Fraillon AO
MSO First Nations Creative Chair
Dr Anita Collins
Creative Chair for Learning and Engagement
Artistic Ambassadors
Tan Dun
Lu Siqing
MSO BOARD
Chairman
David Li AM
Co-Deputy Chairs
Di Jameson
Helen Silver AO
Managing Director
Sophie Galaise Board Directors
Shane Buggle
Andrew Dudgeon AM
Martin Foley
Lorraine Hook
Margaret Jackson AC
David Krasnostein AM
Gary McPherson
Farrel Meltzer
Edgar Myer
Glenn Sedgwick
Mary Waldron
Company Secretary
Oliver Carton
The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events.
The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows:
$500+ (Overture)
$1,000+ (Player)
$2,500+ (Associate)
$5,000+ (Principal)
$10,000+ (Maestro)
$20,000+ (Impresario)
$50,000+ (Virtuoso)
$100,000+ (Platinum)
Become an MSO Patron
Help us deliver an annual Season of musical magic, engage world-renowned artists, and nurture the future of Australian orchestral music by becoming an MSO Patron.
Through an annual gift of $500 or more, you can join a group of like-minded musiclovers and enhance your MSO experience. Be the first to hear news from the MSO and enjoy exclusive MSO Patron activities, including behind-the-scenes access, special Patron pre-sales, and events with MSO musicians and guest artists.
To find out more, please call MSO Philanthropy on (03) 8646 1551, or by scanning the QR code.
Thank you for your support.
Principal Partner
Premier Partners
Education Partner
Major Partners
Orchestral Training
Partner
Government Partners
Venue Partner
Supporting Partners
The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund
