Orchestral jazz may sound like a wording error but it’s definitely a thing. A very classy thing in fact; brimming with muscle and finesse. Chicago found itself with a quite nice OJ ensemble when somebody invited Orbert Davis, one of the city’s most respected trumpet players, to think big. That was back in 2004 and the Chicago Jazz Philharmonic, 57 musicians strong, has been racking up kudos and sweeping in praise for its excellence ever since.
Exclusivity inhibits exposure and the CJP has primarily only been known to those who could afford the shekels to see them in a grand performance space like the Chicago Symphony stage.
Clever minds hatched the wonderful idea to bring them to Chicago’s great musical lawn, the Pritzker Pavilion at Millennium Park where they performed for free before hundreds Wednesday night (Aug 23) with a Best Of performance.
Big orchestras produce breathtaking sound. Count Basie took advantage of those irresistible results all of the time which helped cement his timeless popularity. Wednesday night’s show featured commissioned works, Fanfare for Cloud Gate, a lovely second movement from the Mississippi River masterwork called Tributary, and Aaron Copeland’s spirited Hoe Down that included tap. Even more notable was the orchestra’s reworking of Miles Davis’ El Moreno from his Sketches of Spain classic. Keeping the sultry mystery of the piece intact and allowing individual musicians free rein to strut their talent, it reminded you why the original now is so essential to the American jazz repertoire.
Traveling widely to discover new music as well as promote its own work, every excursion of the CJP has a solid educational component as well. Their trip to Cuba had treasures revealing themselves at every turn. They even brought one of those treasures back with them. A high schooler from Havana, Anabelle Gill played exquisite solo flute with the band on a tune called 1000 Questions, One Answer. Warming in the moment, you could see her unfurl, smile and take ownership of her instrument as if it were destiny to play so beautifully.
When the set rolled into the vocals segment, hopes were high for a blowout. Lining up three proven pros, Maggie Brown, Terisa Griffin, and Bobbi Wilsyn; the performances were a bit pale. It may have been due to technical difficulties with the mics or it may have just been a bad night for the ladies’ voices. One particularly bright light shone however with Ms. Wilsyn’s interpretation of I Loves You Porgy. Turning a revered chestnut into a finely crafted jewel, she brought a wistful lightness to a song whose hallmark is unfathomable depth. Drawing the entire audience out of their worlds and into hers with the song, the crowd showed their appreciation for the journey with generous applause.
Sitting on the threshold of the event jazz lovers live for, the Chicago Jazz Festival kicking off one week from now, that close had us all salivating for more. Bring on Labor Day weekend!
