All That Jazz courtesy of Wynton and The Jazz At Lincoln Center Orchestra

Lonnie Liston Smith via last.fm

I must admit to something that I have probably never admitted out loud : Prior to my attendance at Jazz at Lincoln Center Performances here in NYC, I was not that big of a fan of Jazz pre 1970 ( Bebop , Free , Post Bop, Swing , Dixieland, e.t.c.). The exception being Miles's stuff (particularly "Kind Of Blue, "Sketches Of Spain" , "In A Silent Way , and songs like My Funny Valentine). Miles's notes through his horn have always spoken a beautiful language that seems to come from another universe. But in most cases I have always found the bios of the musicians more fascinating sometimes then the music itself. The history of Jazz itself is enough to fill a history head like myself up with stories of triumph, tragedy, race, class, genius, transcendence, dope, hope, migration, internationalism, poetry, aesthetics, style, and grace under pressure. Mingus, Ellington, Dizzy, Satchmo, Charlie "Bird", Coltrane, Max Roach, Philly Jones, Bud Powell , and so many giants that I haven't mentioned all have epic tales to go along with their mastery of the art form.
My taste in terms of jazz though was formed by a more funky genre bending mash up of guitars, synthesizers, amplification, and groove put down by folks like Herbie Hancock(Headhunters), Miles (On The Corner/Bitches Brew/Live/Evil/Jack Johnson/ Get Up With It/ e.t.c), Stanley Clarke ( School Days/his Return To Forever Work / Journey To Love/e.t.c) George Duke, Jaco Pastorius, Marcus Miller, Roy Ayers, Lonnie Liston Smith, Weather Report, and many of the "fusion" artists. Steely Dan, Earth Wind and Fire, Santana, Mandrill, and other rock/pop/soul/funk artists who were influenced by the muscians that I just mentioned were also Jazz to me.
What does this have to do with Jazz at Lincoln center and Wynton Marseilles? Attending the concerts there have given me a musical education though the music it'self of the masters. Every concert that I have seen there has been a tribute to a past master. In some cases the master him/herself is present.He(Wynton ) not only plays the idea with the orchestra ; he also gives you a story anout the artist and the tune. The orchestra itself is a marvel and treat to the ears. All accomplished players who also do some of the arrangements too. Dig if you will this picture : 12 or more horn players-multi racial, various ages, and in suits on a bandstand, Upright Bass, Grand piano, Drum Kit-sometimes two drummers , and guest masters. Try to imagine all of those horns in syncopation and solos. Wynton Marseilles just by himself can sound like Gabriel blowing from heavens gates.
Memorable and Educational Moments for me there:

Ahmad Jamal was a discovery for me( his playing made me go into his discography and learn about a living legend

The Women Of Ellington
"Satin Doll", Black Beauty" from 1928!, Portrait of Mahalia Jackson," from the composer’s 1971 New Orleans Suite , "Gal From Joe’s" , Red Roses For A Blue Lady,",All Heart"(dedicated to Ella Fitzgerald), Shout ‘Em Aunt Tillie," "Miss Lucy," and "Country Gal." Each song had an incredible story. The span was over 50 years.

Basie & The Blues:special guest pianist Cyrus Chestnut

Ask Your Mama featuring Joe Lovano, The Roots, Jessye Norman and Nnenna Freelon
A Concert to Benefit Haiti

This what I dug last year
:Eddie Palmieri’s Latin-jazz big band (Feb. 6 to 7); a 50th-anniversary concert in honor of two landmark albums, John Coltrane’s “Giant Steps” and Miles Davis’s “Kind of Blue” (Feb. 12 to 14); and a run of concerts by a quintet led by the keyboardist Chick Corea and the guitarist John McLaughlin (April 23 to 25).

I could go on because there is so much more going on there. The touch screen exhibit/tribute to the masters alone is worth it.

I once had issues with Wynton Marseilles because I thought that he was trying to control the idea of what good Jazz is. As much as I learned from Ken Burns excellent PBS Jazz series, I was bothered by what I perceived as his( and Stanley Crouch's) rejection of the type of jazz that turned me on. I will admit that his vision for the orchestra and concert hall has expanded my appreciation for the past that I missed in terms of the music.
Jazz at Lincoln center, I walk in feeling like the mud of the week is on me. I walk out feeling bathed in cleansing notes. Like I'm wearing a fresh new suit and a shape up