Congo Square Comes to New York

So I missed Wynton Marsalis's performance of his new composition, Congo Square, in Tampa, because I was already in New Orleans for Jazz Fest. And, sadly, Wynton didn't play Jazz Fest this year, although he was in town a week or two earlier for the debut of the piece.

I guess I'll have to be satisfied with experiencing it vicariously, by way of such stories as Nate Chinen's review , in the New York Times, of Wynton's new large-ensemble work at Lincoln Center (but of course).

Here's Chinen's conclusion:

"Mr. Marsalis still takes compositional cues from Duke Ellington: there were bursts of brass, sweeping reeds and intricate internal harmonies. But there were also a few experiments in timbre, involving flutes, clarinets and muted horns. The orchestra was invariably up to the task.

What was missing, notwithstanding a saccharine ballad sung by Imani Gonzalez of Odadaa!, was a strong melody. That deficiency became more of a liability as "Congo Square" approached and passed the two-hour mark. The suite could be trimmed significantly and still pack a serious punch. But even then it might feel less than suitelike: a patchwork rather than a fabric."

Here's hoping I get a chance to make my own judgment about it.