Anticipation is in the air this Thursday, January 22, 2026 evening inside New Brunswick’s historic State Theatre New Jersey as jazz aficionados await a Duke in Africa concert by the world’s premier big band, the Jazz at Lincoln Center Orchestra, featuring trumpeter Wynton Marsalis.
The lights dim and the musicians of the JALC Orchestra — Ryan Kisor, Kenny Rampton, and Marcus Printup on trumpet; Vincent Gardner, Chris Crenshaw, and Elliot Mason on trombone; Sherman Irby, Alexa Tarantino, Chris Lewis, Abdias Armenteros, and Paul Nedzela on woodwinds; Dan Nimmer on piano, Carlos Henriquez on bass, and Obed Calvaire on drums; along with artistic director Wynton Marsalis on trumpet — enter the stage.
The crowd whistles and cheers and Marsalis takes the mic to respond, “Thank you so much for coming out. Tonight we have a special concert for you featuring the great music of Duke Ellington.”
After Marsalis introduces tonight’s emcees, Alexa Tarantino and Chris Lewis, Lewis announces, “This evening we’re going to be playing the music of Duke Ellington which highlights his time and influence on the continent of Africa,” to which Tarantino adds, “Our first selection this evening comes from Duke’s 1963 Afro-Bossa record.”
Opening with “Purple Gazelle,” the saxes play the melody which is punctuated by a brass countermelody as the orchestra swings to this piece which dances along like a samba.
The crowd cheers and the band launches into the Ellington Afro-Latin composition, “Pyramid.” Opening with rhythmic percussion, trumpets blip to the catchy tune and Carlos Henriquez’s bass walks to the sound of a wailing tenor sax before Wynton Marsalis impresses with a muted trumpet solo.
Moving on to a segment from Ellington’s 1947 Liberian Suite, Tarantino explains that the music describes “a tribal chieftain arriving at a modern city, marveling at the technological wonders and celebrating with his people.”
Obed Calvaire’s rhythmic drumming is featured on the piece — “Dance №4 from Liberian Suite” — where rimshots ring out before crashing rolls lead into a contrast between the beating of rhythmic tribal drums and the swinging sound of a modern big band.
Music lovers applaud and the group continues with “Dance №5 from Liberian Suite” where Chris Crenshaw is featured on the “ya-ya” trombone. Using a mute to play a powerful trombone solo, Crenshaw is accompanied by rhythmic drumming, a bass ostinato, and a chordal piano part on this bluesy Ellington number.
On “Tigress,” another song from Afro-Bossa, the melody is backed by exciting African rhythms played by pianist Dan Nimmer on congas as well as members of the trumpet section on various percussion instruments. Then, Abdias Armenteros’ sax wails softly and mournfully on the mysterious melody of “Absinthe,” a slow swing number which also features a Paul Nedzela bari sax solo.
Alexa Tarentino contributes a sweet and high flute solo on “Soul Flute,” a bouncy and bluesy swing tune.
Marsalis and the band conclude Act I with the Ellington classic, “Cotton Tail,” a quick and hot bebop number where Marsalis artistically paints in sound with his trumpet solo, captivating concertgoers who respond with animated cheers and applause.
Following a short intermission, Lewis explains that the group’s next piece was written by Ellington for a 1963 centennial celebration of the Emancipation Proclamation. Lewis, Tarantino, Crenshaw, and Armenteros— along with trumpeter Marcus Printup and trombonist Vincent Gardner — lend their singing voices to “Montage,” a happy-go-lucky swing tune which has them scatting along with the orchestra.
Next up is Togo Brava Suite’s first movement, “Soul Soothing Beach,” a smooth and dreamy bossa nova number with an uplifting melody and a fluttery Alexa Tarantino flute solo. It’s followed by the suite’s second movement, “Naturellement,” a tempo-shifting Afro-blues which tells a story about going “into the jungle” with blaring horns and an animated bebop tenor sax solo by Chris Lewis.
Togo Brava Suite’s third movement,“Amour, Amour,” is a modal piece with a funk feel illustrating “Duke’s reflection on love” which ebbs and flows as it builds in intensity. To conclude Togo Brava Suite the orchestra performs “Right On Togo,” an Ellington jazz gospel number in a minor key which concludes with enthusiastic audience cheers and applause.
The rhythm section of Nimmer, Henriquez, and Calvaire is spotlighted on “Lotus Blossom” where the trio’s piano, bass, and drum playing enchants the audience on this delightful jazz waltz.
After Lewis thanks the audience for “coming out this evening,” Marcus Printup is featured on trumpet on tonight’s final number, “The Eighth Veil.” Music lovers respond to Printup and the ensemble’s rendering of this dynamic orchestral jazz piece with an enthusiastic standing ovation.
Following the performance, concertgoers comment on tonight’s Duke in Africa presentation. Remarks Mel from Allentown, PA, “It was an excellent show! I’m originally from New York City so Jazz at Lincoln Center has been a part of my life for a long time. Wynton — and everyone else — was excellent,” prior to noting, “ I am not somebody who follows Duke Ellington, but I enjoyed every song they played tonight and the soloists were just great.”
Denise from Colonia contends, “I thought the band was phenomenal! This is the first time I’ve seen them live. I didn’t know what to expect, but I loved the show — it exceeded my expectations. I didn’t know many of the songs, but I loved every one — it was truly hard to pick a favorite. I also enjoyed how different band members were featured in different pieces and how Wynton Marsalis gave different musicians a chance to be in the spotlight.”
Cole, age 14 from Watchung, reveals, “I play the trumpet — I’m captain of my band in school and I’m in a select honors band, too — so I wanted to come here and see this group. Wynton Marsalis is very very good. I can tell you that the trumpet is not easy to play so I really admire him, plus his entire band is really good.” Cole’s mom, Jennifer, concurs, adding, “It was an amazing amazing show. I hope to see Cole up there playing with this group one day!”
Whereas Tim from Rumson insists, “I really enjoyed this show,” his wife, Karen, acknowledges, “This is the second time we’ve seen the JALC Orchestra. I’ve been listening to jazz since I was in my early 20s — I’ve seen Dizzy Gillespie, Miles Davis, Kenny G, and more — and tonight’s show was really good.”
Evan from Hightstown asserts, “Wynton Marsalis and the Jazz at Lincoln Center band were great! The music was nice and soothing. They put on an enjoyable performance.”
Angela from Cranbury agrees, adding, “It was so clean, with very strong trumpet playing — all of the musicians were very powerful.”
Lastly, Vince from Hazlet exclaims, “I thought it was a great show! I’m really glad the JALC Orchestra came out to perform in New Jersey. The talent on stage was amazing — you could focus on just one player and realize what a genius that person is but, also, how the musicians worked so well together.” Vince’s wife, Joanne, concurs, adding, “I absolutely loved it! This was the first time I’ve been to the State Theatre and I’m very impressed,” prior to concluding, “It was a great show in a really beautiful venue. We will definitely be coming back!”
To learn more about Wynton Marsalis and the JALC Orchestra, please go to jazz.org. For info on upcoming shows at STNJ — including Les Ballets Africains on February 24, Celtic Woman: A New Era on March 6, Diana Krall on March 20, and Itzhak Perlman in Recital on April 12 — please click on stnj.org.
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