Delfeayo Marsalis: Crescent City Jewels

Delfeayo Marsalis' release Crescent City Jewels is a vibrant tribute to the resilience and spirit of New Orleans, expertly captured by his Uptown Jazz Orchestra. The album reads like a journal from Marsalis, full of musical moments that celebrate life's joys. Featuring an array of veteran musicians and rising stars from the Crescent City, it is a high-energy collection that showcases the vitality of big-band jazz with an infectious New Orleans flavour. The session's blend of jazz standards, original compositions and classics demonstrates Marsalis' knack for curating a dynamic setl ist.

The opening track is a Marsalis original, "Sidewalk Sizzle," wrapped up in a funky groove. Buoyed by a thick-bottom bass line from Chris Severin, Marsalis dives into a trombone solo full of a density of notes. Aaron Narcisse on alto sax matches the sonic texture of the music. The Harold Arlen/Truman Capote ditty ,"A Sleepin' Bee," is taken for a raucous turn by vocalist Tonya Boyd-Cannon. Alto saxophonist Khari Allen Lee chimes in with a tonally evocative solo. One of the New Orleans-attached compositions is "Ooh Poo Pah Doo," which features vocalist Kermit Ruffins. Imagining a Mardi Gras vibe, Riffins' guttural incantations lead the band through the number with tenor saxophonist Orlando Gilbert bringing it home with an earthy foothold in the melodic frame.

From the outset, Marsalis commands attention whether it be playing, composing or arranging. All three come together on "Basie Moods." This mellow Basie-styled swinger percolates under the impeccable drumming of Herlin Riley. Trumpeter Andrew Baham and Marsalis each offer solos in their fluent, meticulous style. The band delivers on its adaptability with the Latin-tinged "El Ultimo Cafe." Special guest Branford Marsalis takes a stylish soprano sax solo with Delfeayo's trombone lithely swaying over the band. Not to be outdone, Victor Campbell shows that he is an effervescent two-handed pianist.

Continuing with the adaptability construct, the band forays into classic jazz territory with a Joe Henderson composition, "Inner Urge," while the Thelonious Monk gem "'Round Midnight" conveys distinct dualities. In the former, the band builds a frame infused with fresh rhythmic vitality over which Branford Marsalis' bracing tenor saxophone renders a scintillating line. In the latter, the number becomes a shadowy ballad, with Boyd-Cannon delivering the number, showing off her range and power, backed by the Uptown Jazz Orchestra's signature sound.

There is sincerity in the way Marsalis and the orchestra breathe life into even well-known standards such as "Basin Street Blues," bolstered by pianist and vocalist Davell Crawford along with trombonist Maurice Trosclair, both mesmerizing Crescent City musicians. The album closes with a traditional number, "Lil Liza Jane." In this boisterous interpretation, pulsing with second-line rhythms, vocalist John Gray imbues the interpretation with that uplifting and inspiring New Orleans spirit.

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