Duke Ellington’s famously ambitious tribute Black, Brown and Beige was debuted back in January 23, 1943 to an indifferent audience, as the original presentation was a weighty affair for fans of the Swing Era. Almost 4 score years later, Wynton Marsalis’ JALC Orchestra presents it to ears that have been accustomed to Bebop, rock, modern jazz, R&B and hip hop, making the digestion much more palatable to today’s ears. It has held up well, with Marsalis and company recreating the music in a celebratory but not completely imitative way.
The dramatic pounding introduction of “Work Song” still evokes images of field hollers, and the gorgeous alto of Ted Nash sublimely sways on the spiritual “Come Sunday”. Carlos Hernriquez’s bass is spry for “Light” and the reeds are rich in harmony for the exotic “West Indian Dance”. Marsalis himself is in rich tone, using a plunger for “Emancipation Celebration” while Julian Lee is Ben Webster breathy for the mellow toned “Blues Theme Mauve”. Paul Nedzela’s tenor evokes the rich palpable tone of Harry Carney while Dan Nimmers fingers are spry for the classy uptown “Sugar Hill Penthouse” and the team swings in celebration for the flag waving finale. There is no talk or mention of being “red, white and blue” this time around, as Ellington stated during the original broadcast, nor is there the National Anthem, and I’m sure no one was bending the knee during the original rendition. The music and message have held up wondrously.