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Check out this exclusive BBC interview by Leo Hornak, who went behind the scenes with Wynton and the Jazz at Lincoln Center Orchestra as they got ready for the European premiere of The Democracy! Suite last March.
The concerts of Jazz at Lincoln Center’s 2025–’26 season, adhering to a theme of “Mother Africa,” will delve into the creative spirit that unites African and American musical traditions. Running from July 24, 2025, to June 20, 2026
“All of my pieces are long,” says trumpeter and composer Wynton Marsalis. “And you got to imagine that’s what made it much worse when it sounded so bad. It was a lot of it. So, it was like, ‘Damn, this is terrible, and there’s a lot of this to go.’”
Jazz at Lincoln Center’s 38th season will celebrate jazz, Africa and the African diaspora with programs that pay tribute to genre greats like John Coltrane and Miles Davis, while others will spotlight vocalists, pianists and other trumpeters. It will also include a tour of Africa by the Jazz at Lincoln Center Orchestra.
Wynton Marsalis is on his way to Chandler Center for the Arts with Cecile Licad and an all-star jazz ensemble to perform the score to “Louis,” a silent film telling a mythical tale of a young Louis Armstrong in the cradle of jazz, New Orleans, on Thursday, May 22.
Louis is a modern-day silent film, complete with a sepia tone. It tells the story of a young Louis Armstrong in New Orleans and features a soundtrack performed live by Pulitzer Prize-winning jazz musician Wynton Marsalis.
At the post-performance reception for last week’s appearance by Wynton Marsalis and ensemble, providing a thrilling live accompaniment to the modern silent film LOUIS, an embellished and sometimes racy tale of Louis Armstrong’s formative years, the famed trumpeter was addressing the gathering in the Arlington court and paying props to his collaborators.
Jazz at Lincoln Center (JALC) and Managing and Artistic Director Wynton Marsalis today proudly announce programming for its 2025-26 season of concerts at the home of JALC, Frederick P. Rose Hall, colloquially known as The House of Swing, which houses Rose Theater, the Appel Room, and Dizzy’s Club.
Jazz at Lincoln Center announced the three top-placing high school jazz bands in the world and more than 40 individual and section awards during the prestigious 30th Annual International Essentially Ellington High School Jazz Band Competition and Festival final concert and awards ceremony on May 11 at the Metropolitan Opera House.
When it comes to the life and legacy of Louis Armstrong, Wynton Marsalis is a natural expert. A Grammy-winning jazz trumpeter, composer, and bandleader, Marsalis is Jazz at Lincoln Center’s longtime artistic director and president of the Louis Armstrong Educational Foundation.
Acclaimed jazz artist Wynton Marsalis took the time to talk to The Leader about his upcoming benefit concert for Centrum this month, during which he’ll be leading a 13-piece jazz orchestra in performing the score to the 2010 silent film “Louis,” directed by Dan Pritzker.
We immediately catch up a bit, noting that the last time we spoke — or, more accurately, Zoomed — was right after his “The Ever Fonky Lowdown” album with the Jazz at Lincoln Center Orchestra came out in 2020. Of course, Zoom was the standard form of communication back in those days, just months into a COVID-19 pandemic that sent much of the world into lockdown and social distancing mode.
Wynton Marsalis is a longtime legend of contemporary jazz. His 1997 work Blood on the Fields, a three-disc-long oratorio about slaves escaping to freedom, was the first jazz composition (and first non-classical composition) to win the Pulitzer Prize for Music, paving the way for subsequent winners such as Henry Threadgill’s In for a Penny, In for a Pound, legendary saxophonist Ornette Coleman’s Sound Grammar, as well as the only non-classical, non-jazz winner, Kendrick Lamar’s DAMN.
It is perfectly logical to assume New Orleans-bred trumpeter and Pulitzer Prize-winning jazz composer Wynton Marsalis grew up as a fan of jazz pioneer and fellow New Orleans trumpeter/composer Armstrong, the subject of the national “Louis” silent-film-with-live-music-tour Marsalis and his 13-piece band are now embarked upon.
Outside the Rose Theater at Jazz at Lincoln Center on Wednesday night, hundreds of people in shimmering gowns and velvet tuxes waited for the program to begin. They snacked on popcorn from gold pinstriped bags and sipped cocktails in front of a wall lined with giant black-and-white photos of the jazz pianist and composer Duke Ellington.
Prior to Friday’s concert, I must confess, the phrase “Contemporary Jazz Masterpieces” kind of put me off. Of those three words, the only one that sparks any anticipation of something fun is the one in the middle; the title as a whole led me to expect something heavy and serious.
Jazz at Lincoln Center today announced Dave Chappelle, award-winning American comedian, actor, screenwriter, and producer, will host the organization’s 2025 Gala, Duke Ellington at 125, on April 30, 2025 at 7:00 p.m. in Frederick P. Rose Hall, home of Jazz at Lincoln Center, at Broadway 60th Street in New York City.
Before films began to talk, in the late 1920s, live musicians delivered the soundtracks for silent films. This was sometimes a single pianist or organist, sometimes a larger ensemble. We know that some jazz musicians, including Fats Waller and Count Basie, began their careers with this gig, which required both reading and improvising. Waller and Basie, by the way, retained a lifelong attachment to the organ.
Trumpeter and composer Wynton Marsalis, who is currently the artistic director of Jazz at Lincoln Center, is rarely not in motion. Luckily, The Dam Yankee podcast, in partnership with NL Times, caught the living jazz legend after his sold-out performances with the Jazz at Lincoln Center Orchestra at the Concertgebouw in Amsterdam.
A Scottish music icon, a groundbreaking jazz musician and a Tony Award winner will be honoured with honorary doctorates from the Royal Conservatoire of Scotland this summer.
Jazz at Lincoln Center presents Contemporary Jazz Masterpieces featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis, with co-music direction by Wynton Marsalis and Steven Feifke. This concert event takes place on April 25-26 at 7:30 p.m. ET in Jazz at Lincoln Center’s Rose Theater.
Blue Engine Records, Jazz at Lincoln Center’s in-house record label, announced plans to release Essentially Ellington: The JLCO Recordings, 1999-2025 on April 30, 2025, in celebration of International Jazz Day and to mark the 30th anniversary of the Essentially Ellington High School Jazz Band Competition and Festival (EE), Jazz at Lincoln Center’s signature education program.
Detroit Symphony Orchestra Music Director Jader Bignamini didn’t take an easy route in making the first commercial recording of his career. The piece in question is the DSO’s performance of Wynton Marsalis’ “Blues Symphony,” a notoriously challenging 2009 composition that’s both long (seven movements in just over an hour) and intricate in its blend of blues, classical and New Orleans jazz motifs.
Every so often, a concert comes along that lifts the spirits of everyone present, and the final evening of Wynton Marsalis’s March residency at the Barbican was one such. The main event was the UK premiere of his ‘Democracy! Suite’
Jazz at Lincoln Center Orchestra’s latest three-day Barbican residency was suffused with Ellingtonian touches. The opening night combined the JLCO Youth Orchestra with the Guildhall’s Ellington-flavoured band, and the young musicians’ frightening maturity was in evidence in the Charlie Parker Combo that played the free stage the following evening.
Few symphonies lasting over an hour hold the attention (Mahler’s can; even Messiaen’s Turangalîla feels two movements too long). Wynton Marsalis is a great man, but his Fourth, “The Jungle”, is no masterpiece, not even a symphony
Incredible trumpeter, bandleader and inspirational force though he is, Wynton Marsalis sometimes seems to struggle when he attempts long-form composition. The results often sound like a patchwork of disparate ideas rather than a symphonic unity.
If there’s such a thing as royalty in jazz, the Jazz at Lincoln Centre Orchestra is surely it. On Saturday night they strolled onto the Barbican stage with an easy assurance that seemed to say, “We own this music”.
Wynton Marsalis made history when he became the first musician to win classical and jazz Grammy Awards in the same year. He tells the BBC’s Katty Kay about jazz’s unique connection to liberation and how his father’s relationship with music shaped his approach.
Rooms have been buzzing with the sound of jazz legend Wynton Marsalis’ smooth trumpet playing for over half a century now. The world-renowned musician — a nine-time Grammy Award winner and Pulitzer Prize holder — was given his first trumpet at age 6.
How does Wynton Marsalis spend his birthday? On the road, of course. The venerable champion of all things jazzy and traditional celebrated his 63rd birthday onstage in Hong Kong on October 18, the second in a duo of divergent dates leading his Jazz at Lincoln Center Orchestra (JLCO), which taken consecutively felt like two sides of the same coin.
American jazz trumpet master Wynton Marsalis recently performed two concerts in Beijing with the Jazz at Lincoln Center Orchestra, a renowned big band ensemble. One of the concerts featured an innovative piece titled Shanghai Suite.
Grammy-winning composer and modern jazz pioneer Wynton Marsalis will celebrate his birthday on stage with a Hong Kong audience this week. “I have a good time wherever I go. It’s going to be significant to me because it’s my birthday, but only to me. It’s not significant to you, necessarily,” quips the US trumpeter, who will turn 63 on October 18.
Renowned American trumpeter and composer Wynton Marsalis believes the universal language of jazz can bridge divides with a common story of humanity. Marsalis has charted a decades-long career that has seen him win nine Grammys and tour the world with his Jazz at Lincoln Center Orchestra.
Whereas others revisiting this early music try to incorporate some of the funk and grit of early jazz and protojazz, Marsalis and friends keep everything very smooth and highly swinging.