Top Ten

Top Ten what? Top ten concert pieces we've published here since the late 1990s, when we started writing about concerts for the web. Most of them happened at Tanglewood, but not all, as you'll see...

Christopher Eisenbach leads BSO and TFC in stunning Beethoven’s Ninth at Tanglewood

Christoph Eschenbach leads the BSO, TFC, Hanna-Elisabeth Müller, Sasha Cooke, Joseph Kaiser, and Thomas Hampson at Tanglewood August 26, 2018; Hilary Scott photo. — Christoph Eschenbach and Sasha Cooke at Tanglewood August 26, 2018; Hilary Scott photo.

Article updated August 30, 2018 by Dave Read

Spirits were yet scurrying back to their haunting places when Christopher Eisenbach took to the podium less than fifteen hours after the Bernstein Centennial Celebration to lead the Boston Symphony and the Tanglewood Festival Chorus in the program that would conclude the BSO’s Summer of Lenny in the Berkshires.

Like wedding guests who meet for lunch the day after before resuming the routine of their lives, the audience today couldn’t stop talking about what they’d witnessed yesterday.

So, let’s get on with it, let’s play the program and put the season to bed. A routine rendition of that splendid chestnut – Beethoven’s Ninth, although never expected here in the Koussevitsky Music Shed, may have been acceptable – just this once.

What Maestro Eisenbach and his charges delivered, however, was anything but routine, it was outstanding, so brilliant that it cut room for itself in memory, rather than settle for being an appendage to the events of the preceding eight weeks. We can attribute that to the two Bernstein works prefacing today’s program; traditionally, Beethoven has the season-ending concert to himself.

Something else added to my enjoyment – two silences, lacunae less than a second in length, but of profound depth – a tremendous bit of artistry, accomplished by a visiting conductor, orchestra, and amateur chorus. Bravo!

It was my uncanny luck to be seated adjacent to a woman who sang in the Berkshire Chorus, antecedent to the Tanglewood Festival Chorus, in the news this summer because of policies instituted by director James Burton, in the wake of founder John Oliver’s 45 year tenure. Before the concert, she told me that she sees merit on both sides of the re-audition issue; later, she said that they had never sounded so good. Charles Munch conducted the last program she was part of; and she sang at Maestro Koussevitsky’s funeral!

Satchmo at the Waldorf at Shakespeare and Co.

August 25, 2012 matinee performance reviewed by Frances Benn Hall

Terry Teachout’s Satchmo at the Waldorf at Shakespeare and Co. is a STUNNING production, one of the most exciting new plays to have premiered in a challenging Berkshire summer season. John Douglas Thompson, the play begins as solo performance. The time is March 1971 and Louis Armstrong, greatest jazz musician of the 20th century, is backstage at the Waldorf preparing for what may be his last performance. The man is aged and ill. As he sinks into a chair, he puts reaches not for his golden horn but gropes for his oxygen inhaler. Gradually, talking to himself he copes with his infirmities.

Thompson is Armstrong. And then, without warning he becomes Joe Glaser, his mob-connected manager, and tone and especially language with the F word entangled in most sentences and his over-bearing personality smashing through, rule the stage. Thompson is suddenly taller, dominating.

Then just as suddenly Glaser is gone. But one has feeling of two men on stzage. Yet on the stage is only Armstrong, limping, pill taking, trying to cope with the costume change required for the next Waldorf “set” for which he must leave at the end of this ninety minute play, which no longer seems just a play but an action in which we are involved. And to further complicate, but clearly easy to follow, a third character, Miles Davis appears on stage, briefly.

Armstrong does not play his golden horn. This is not a musical play in that sense, although it is a very musical play. One that manages to sweep us into Armstrong and the music with which he dominated his generation.

The simple set on which this magic takes place is the thrust stage, the only scenery the long back-wall mirror, the light bulbs that define it indicating character shifts. Various little groups of furniture compose the acting area. Simple but striking.

Thompson is so dynamically each character he assumes, one is at loss to find magic words to define his talent. Whatever it is, it is so mesmerizing that even if some audience members may feel shocked by language, or feel they should be, the final applause was so rapid that the audience was standing by the time the lights were back on.

This is an unusual play. About Louis Armstong. Some come because they at least remember he recorded Hello Dolly. Some come because they admire Thompson the actor. Whatever, the stage is steeped in talent. Love it or hate it. The experience is well worth it.

Silk Road Ensemble with Yo-Yo Ma at Tanglewood

Aug. 7, 2016 Tanglewood concert review by Dave Read

The Silk Road Ensemble, with Yo-Yo Ma, used the Koussevitsky Music Shed at Tanglewood like a high school during their Aug. 7, 2016 performance, presenting both lessons in social studies and the senior assembly. Eighteen years since being co-founded by Yo-yo Ma at Ozawa Hall, the Ensemble presented a program that displayed their global roots, with segments being introduced by various members, each of whom stressed the social while while eschewing the pedantic.

The Silk Road Ensemble, with Yo-yo Ma performed at Tanglewood Aug. 7, 2016; Hilary Scott photo.

They talked about being ready now to leave home, after 18 years of growing up; but the effect of the concert was a synthesis of disparate musical traditions, culminating in a glorious global hoedown, to wit: Kinan Azmeh’s composition Wedding, his representation of a Syrian wedding celebration, a public jam session that could last for days. His dedication, to “all the Syriancs who have managed to fall in love in the past five years,” gave the audience an opportunity to express solidarity with those beleaguered people. An extra-musical takeaway from the evening was the opportunity to look at and celebrate the wild differeces among peoples without resorting to polemics. Extra-musical? yes – not beyond, but to the max!

The audience responded to the opening minute or so with tittering and noisy whispers, because of the novelty of a strange instrument on one side of the stage communicating with an equally unfamiliar one on the other side. By the time Fanfare for Gaita and Suona concluded though, the whole house was totally into the world music thing, and the party was on. The gaita is the bagpipe of the Galician people from the northwest part of the Iberian peninsula, the suona is a Chinese horn, and the piece was developed by the players Cristina Pato and Wu Tong, who are as dissimilar to each other in appearance as are their instruments.

Like many of their colleagues, these two were featured several times tonight; Wu Tong especially notable for his singing, including both Manchurian and English verses of Going Home, which may merit a place in World Music lore for being lyrics set to the score of Czech composer Dvorak’s 1893 New World Symphony while in America, and which sounds like a Shaker hymn! When everything is improbable, nothing is, so, another highlight of this show was the Ensemble’s almost cinematic rendition of Billy Strayhorn’s Take the A Train, which took the audience on a raucous, rumbling ride under the streets of Manhattan and Harlem, with images of Ella Fitzgerald and the Duke Ellington Orchestra flashing in their minds.

Review of The Tempest at Shakespeare and Company

July 28, 2012 Matinee reviewed by Frances Benn Hall

It is with joy that one can cheer Olympia Dukakis’ and Tony Simotes’ version of The Tempest now playing at Shakespeare and Company in Lenox. They have taken risks that could have been disastrous. These included not least the changing of the sex of the leading character, the time in which the events in the play occur moved to the 20th century, and the locale changed to a Mediterranean island. None of this mattered. Instead, for the play, it added only joy and deliverance. Anyone not familiar with Shakespeare’s original version could well have believed that the play was exactly as written and originally played.

As staged in its current version, the magic words are still there, the marvelously limned characters still speak them and the stage is awash with discovery and a strange joy. The setting is simple, the stage relatively bare, one tall bare tree sufficing for many glorious opportunities. Other slight bits were effortlessly risen from the floor or whirled in by the actors. Stage-filling musical numbers whirled in opposing groups with their agenda—demanding changes or plotting to recover territory lost.

In the midst of it all, the innocence of the juvenile love scene between Miranda (Merritt Janson) and Ferdinand (Ryan Winkles) was played with such naivete that one could literally feel behind it the will of Prospera (Olympia Dukakis) hoping it to evolve into the daughter she loved becoming Queen of Naples.

In costuming one delights in that of the anemic Caliban, (Rocco Sisto) his skin washed to baby-like contrast to that of any other on stage. Shakespeare gave him the (at times) the innocence of those marvelous lines, the isle full of noises of which he cried to dream again. Director Tony Simotes gave him the stage location from which to deliver them. Of such moments is a beautiful play made.

Music seemed to wash over the whole play, and the stage again and again was filled with groups of valiant women abetting Prospera or other groups plotting conquest and ruin.

Every actor could, and should be mentioned and praised and is so in this brief hurrah as is praise for those in the theatrical arts contributing to this inspired joyous production. Each could be singled out such as Ariel (Kristin Wold, light as a feather) or Gonzalo (Apollo Dukakis ever ready with sane, calm observation) or Jonathan Epstein as the uproarious Stephano, butler to the King of Naples (Thomas A. Rindge, a deserving loser.) These and more deserve mention.

As for Olympia Dukakis, she knew what she wanted the play to say and saw that the play and her lines said it with controlled intensity. Her mother love in which she told her daughter of her previous life vibrated through the play in all the scenes that followed. Musing on the play as he drove me home, my son remarked, “And to think that when it was played in Shakespeare’s day, if the character had been changed to Prospera, it would have been played by a man.” And that boggles the mind. Rejoice that in the current production we have Olivia Dukakis playing it.

Bob Dylan at Tanglewood July 2, 2016

July 2, 2016 Tanglewood concert review by Dave Read

It was a night of biblical proportions at Tanglewood, a concert by Bob Dylan that was a revelation, following a set by Mavis Staples that was a revival. The revelation is that some 55 years into his career, by remaining true and not wavering from his original vision, Bob Dylan was able to belt out a genre-skimming array of 20 songs, imbuing each one of them with just the right degree of scorn or glee, humor or haughtiness, bile, blasphemy, or belligerence.

Dylan’s constancy was demonstrated by She Belongs To Me, the second song tonight, which he also performed the first time I saw him, on the Rolling Thunder Revue tour. Tonight’s set started with Things Have Changed, his trophy-winning song from 2000, which was performed with more ardor and vehemence than an opening number usually gets, as if he’d been singing along backstage to old girlfriend Maris Staples!

Bob Dylan sings the Great American Songbook

Tonight’s setlist also demonstrated that Mr. Dylan’s perusal of the Great American Songbook is no passing fancy; besides doing five songs from the 2 new “Sinatra” albums, Fallen Angels and Shadows in the Night, he also sang How Deep is the Ocean and I Could Have Told You, brand new entries on Bob Dylan’s setlist. While it’s hard to imagine that his own lyrics have overlooked any nuance of emotion or condition of life, nontheless he seems all fired up to be singing this material, making a fresh wind blow through Tin Pan Alley.

Those seven songs were distributed evenly among his own, five of which hail from Tempest, which took the world by storm upon release in 2012, when Dylan-wags reminded us that The Tempest is the name of Shakespeare’s last play. Turns out not to mark the end of the line for the bard of Hibbing, at all! Tempest is a great album, and tonight Bob Dylan delivered five songs from it with a high degree of fidelity to the recorded versions: Pay in Blood, Duquesne Whistle, Early Roman Kings, Scarlet Town, Long and Wasted Years.

Duquesne Whistle gets your attention

Duquesne Whistle, in the 7tyh spot tonight but 1st on the album, reminds me of Like A Rolling Stone, the opening number on Highway 61 Revisted. Whereas the latter shocks the listener with the loud crack of a snare drum right up front, Duquesne Whistle lollygags for more than half a minute before slapping you awake. Bob Dylan is an artist who doesn’t put much effort into promotion, but every now and then he takes the measure of our attention.

And tonight, he even addressed the audience, after the first 9 songs, telling us the band would be leaving the stage but would return in a few minutes. For years, he spoke only to introduce the band and maybe say thank you at the end of the set and before the encore, but hadn’t even been doing that much talking lately. This encore alone was worth the price of admission: Blowin’ in the Wind, with Dylan’s vocals and piano assiduously accented by violin, and a rollicking reading given to Love Sick, off the immense 1997 album Time Out of Mind.

Mavis Staples rouses the audience

Mavis Staples had the audience in the palm of her hand by the time her opening set wound up, and on their feet, singing along and testifying! She doesn’t share Dylan’s reticence, rather is as chatty as your sister, eager to tell you what’s been happening. We couldn’t sit still during her set, which left us revived with the fervor of the Sixties. Her band is awesome and they mix up an intoxicating blend of gospel, soul, funk, blues, and rock ‘ roll.

A Thousand Clowns at Berkshire Theatre Festival

July 21, 2012 performance reviewed by Frances Benn Hall

Rarely can one say of a play that includes a cast of six that each character is perfectly cast and that zany as each role was, tore through the antics on stage with such brio that one loves him and is moved by his antics and his attempt not to accept but to cope with “reality.”

Director Kyle Fabel is responsible for the perfect casting, interweaving and maneuvering the marvelous actors who whirl through Herb Gardner’s A Thousand Clowns on the Berkshire Theatre Festival’s Fitzpatrick stage, where a prat fall is nothing, only a prone position is an expectation.

The play is an endearing poignant comedy. Every character in it is real. And human. Flawed but hanging in. Agile, hysterical, trapped in situation and personality.

The plot centers around Murray (C J Wilson), a day dreamer who walks off his job as joke writer for for a kids TV show about a Chipmunk and in so doing risks losing custody of his young precocious nephew Nick (Russell Posner), and in come more clowns, the social workers to join those already on stage.

Murray who sets it all in motion keeps the plot a-boil with his dry humor, one liners, his over powering need to keep his apartment full of lovingly collected junk and his more over-powering love for his twelve year old nephew who has a few foibles of his own. He is trapped between his hate of sham and his love for others and is one hundred percent human.

Nephew Nick attempts to bring sanity into his uncle’s zany existence. It is he who attempts to blind-side the social workers, but Nick too has his problems trying to protect his uncle and be marching in that uncle’s zany band at the same time. In this cast he must be agile and resourceful and fills the bill.

As for the social workers, Sandra (Rachel Bay Jones) being female, feline and given to tears and agile with the movements of a household pet and James Barry as Albert, buttoned tight into his clothes and his life, provide grist for the hysteria mill.

In smaller roles Murray’s bother and agent Arnold (Andrew Polk) who attempts to introduce reality into Murray’s foibles but who is himself caught in the grubbing for money with awful TV mishmash, and especially Leo (Jordon Gelber) whom we first meet through his voice being thrown into a wastepaper basket. He has the awful physical girth to be terrifying as Chipmunk and is terrified of being drummed out of Murray’s life. This is a fun and funny play.

All of these magnificent actors hurtle physically through the events that occur during the mad house that this play concerns. The props alone must have kept half a dozen apprentices on hand every minute backstage. And the stage had to whirl back and forth as zanily as the plot, to a different locale, or just to a different décor as the romance came and went. It was as whirled about as often as the charactrs were staring at the ceiling.

This is a wonderful, hilarious play, beautifully presented; so glad I went!

Jazz at Lincoln Center Orchestra Wynton Marsalis at Tanglewood

July 18, 2015 Article by Dave Read

Wynton Marsalis and the Jazz at Lincoln Center Orchestra gave a concert in Ozawa Hall yesterday that could serve as the template for all concerts: two sets artfully arranged to engage, sustain, and satisfy an auditor’s attention, with just the right measure of exposition from the stage to establish a conversation, contextualize the selections, and identify the musicians. Marsalis was an amiable host from his 3rd row seat in the trumpet section of the band, which he led through an overview of early 20th century jazz in the first set, followed by a set made up of compositions and arrangements by musicians in the band.

Seiji Ozawa Hall lawn scene at Tanglewood; Dave Read photo.

Wynton Marsalis and the Lincoln Center Jazz Orchestra on Ozawa Hall stage.

Wynton Marsalis and the Lincoln Center Jazz Orchestra bow to Ozawa Hall audience.

Tonight’s concert got underway with fairly quiet and subtle playing on compositions from the 1930s by Benny Carter, Symphony in Riffs and Duke Ellington, Mood Indigo. By the time the 3rd piece was over, George Gershwin’s Fascinating Rhythm, we knew we were in for quite a treat, as we’d already heard lovely solos by Marsalis on trumpet, Victor Goines on clarinet, and all three trombone players. The set ended with Things to Come by Dizzy Gillespie, which afforded everybody ample space to play, especially the exquisite rhythm section, emerging in the wake of a long trumpet run.

After intermission, the concert continued with a piece called 2/3 Adventure, by bassist Carlos Henriquez, then one rooted in spirituals by trombonist Chris Crenshaw. Next in the spotlight was pianist Dan Nimmer with a selection from a suite he composed from important political speeches. That was followed by sax player Sherman Irby’s arrangement of a composition by Wayne Shorter, who played with the orchestra recently.

The concert closed with Marsalis’s own Back to Basics from his Oratorio, Blood on the Fields, the first jazz composition to receive the Pulitzer Prize in Music (1997). Everyone in the band got another chance to solo, with Marsalis himself bringing it all to a humorous, muttering conclusion, waving the plunger mute over the bell of his trumpet.

Marsalis dedicates concert to the late Gunther Schuller

Marsalis dedicated the concert to the late Gunther Schuller, telling the audience that his stint at the Berkshire Music Center, which Schuller ran from 1970 until 1984, “changed my life.” At 17, he was the youngest musician ever admitted; two years later, he joined the Jazz Messengers lead by legendary drummer and bandleader Art Blakey.

2015 A Prairie Home Companion at Tanglewood

June 19, 2015 performance reviewed by Dave Read

The sixteenth Tanglewood broadcast of A Prairie Home Companion, with Garrison Keillor, took place Saturday June 27, 2015; it was the penultimate show of their 2014-15 season, and probably the penultimate show in the series that began in 2000 when Keillor instituted an instant Tanglewood tradition at the place where he and his wife had their second date.

Chris Thile, mandolin player and member of Nickel Creek and the Punch Brothers, will co-host two shows with Keillor next season before succeeding him as host. Thile has performed at Tanglewood as a guest on the 2011 Prairie Home show and in 2013 with Yo Yo Ma’s Goat Radio Show.

We’ve had the pleasure of attending all but one of these broadcasts from the Koussevitsky Music Shed at Tanglewood, environs once occupied by Hawthorne, Melville, and Wharton. Besides an improbably diverse array of musical brilliance, such as the great Peter Rowan today along Sarah Jarosz, Sara Bareilles, and Nadia DiGiallonardo, the local shows almost always break new ground in the field of Berkshires literary archeology.

Garrison Keillor’s Berkshires literary archeology

An all-time favorite skit was Keillor’s account on the 2001 show of the most famous picnic in the history of American literature, the August 1850 picnic atop Monument Mountain, when Hawthorne and Melville met. Since nobody said Emily Dickinson wasn’t there, Keillor and the cast showed us how much fun the outing could’ve been if the Belle of nearby Amherst had made the trip. Erica Rhodes’ portrayal of a 19 year old Dickinson, eager for the affirmation of her literary elders, was a show-stopper.

The audience roared when she reached the closing lines of Dickinson’s beloved Time and Eternity, which begins, “Because I could not stop for death/He kindly stopped for me/…”

“The woods are lovely, dark with dew, Do-wacka-do-wacka-do-wacka-do.”

Today, the lighter side of Herman Melville was revealed by way of a quick exchange with Hawthorne that made him sound like a Borscht Belt comedian.

During an interview on Aspen Public Radio last week, Keillor said that to have Limericks he’s written “..be beloved among 10 year old boys twenty years from now” would be his “best stab at immortality.” With that in mind, we determined to compose one in his honor during Saturday’s show:

Tanglewood Limerick, for Garrison Keillor

The Tanglewood Shed sits near the mansion where
Boston bankers picnicked, and took care
Of Hawthorne, who’d got fired;
Now, rapt attention is required
When A Prairie Home Companion’s there.

You can listen to this show (and others), and read scripts at PrairieHome.org.

Blind Boys of Alabama, The Holmes Brothers in concert at the Mahaiwe in the Berkshires.

February 10, 2002 performance reviewed by Dave Read

The Blind Boys of Alabama and The Holmes Brothers inaugurated the W.E.B. DuBois concert series with thrilling shows in the Mahaiwe Theatre on February 10, 2002. Whether or not the town of Great Barrington ever decides to embrace the memory of its native son DuBois, it owes kudos to Club Helsinki for producing a concert that moved the town to the epicenter of the Gospel and Rhythm and Blues world, if only for one evening.

When you enter the Mahaiwe, the slick of modernity slips away and you’re in a place with no straight lines, no shiny surfaces, almost no separation between the performing space and the audience. It’s small enough for whispers, but big enough to hold a whole lotta music; and it has electricity too, which was put to good use by The Holmes Brothers, three masterful blues rockers whose express purpose is to “make a joyful noise to the rock of their salvation.”

Led by Wendell Holmes’s raspy ecstatic vocals and fanciful electric piano, kicked along by the sharp drumming of Popsy Dixon and throbbing bass of Sherman Holmes, who also harmonize to such effect that you’re thinking there must be a choir offstage, the Holmes Brothers opened with King Jesus Will Roll All Burdens Away, setting the tone for an evening of music that would reach unimaginable heights.

That song was one of several they played from “Speaking in Tongues,” widely regarded as one of the best albums of 2001. After three numbers at the keyboard, Wendell played electric guitar the rest of the way, delivering a little country twang, some straight ahead rock, and some searing, eccentric riffs of his own creation.

On the third tune, “one from our youth, called Precious Lord,” Popsy Dixon stepped away from his drumkit, donned his sports jacket, and took the vocal lead with a haunting voice and a penetrating gaze.

Wendell’s big brother Sherman also contributed nicely to the verbal mix in addition to maintaining a tastefully varied electric pulse throughout, especially on “Thank You Jesus,” where he and Wendell swapped lines back and forth.

The oddest thing of the night was that during intermission, while the Holmes Brothers were mingling and signing autographs in the crowded lobby, I was rueing the fate of the group that had to follow such an exciting and satisfying set. I soon learned though, that relative to a performance by the Blind Boys of Alabama, there is no opening act, everything theretofore is prologue.

// Job: Cosmopolite // Event: The Blind Boys of Alabama with guest Knut Reiersrud // Photo time 2018-04-06 20:26:24 // Torshov, Oslo, Oslo, Norway (NOR) /

Their performance centered on their latest release, the Grammy-nominated “Spirit of the Century.” “Run On For a Long Time” was the energetic opener, with leader Clarence Fountain belting out the verses and the others harmonizing on the chorus over a driving rhythm section. About sixty minutes later, Fountain introduced the a capella finale: “One mo’- one mo’- the Rolling Stones cut it, but it wasn’t a Rolling Stones song, it’s my song. Listen as I tell you… ‘This May Be The Last Time’…”

Fountain was an entertaining leader throughout, displaying an impish side when he would rise from his usual seated position, shrug his jacket off one shoulder, put his hand on his hip and mimic an Elvis move or two. He delighted in mentioning Great Barrington, Massachusetts, and reminded the audience to watch the group on the upcoming Grammy telecast. Introducing one number, he said, “I didn’t come all the way from Alabama looking for Jesus, I brought Him along.”

twenty minutes of ecstatic singing

The most stunning part of this astounding concert was Jimmy Carter’s twenty minutes of ecstatic singing, testifying, and witnessing among the audience, having been guided down from the stage by one of the sighted band members. It was a breathtaking, spellbinding performance by Carter, who bears an uncanny resemblance to Lateshow bandleader Paul Shaffer. His facial expressions showed the range of human emotions and his singing included holding a single note for what seemed to be as long as some entire pop tunes.

Meanwhile, the other Blind Boys were fully engaged with him in their own vocal ecstasy and the band was rocking ever more fervently, and loud enough to get the attention of sinners many miles away. Another highlight was the group’s Amazing Grace, set to the tune of House of the Rising Sun. (The popular arrangement of House of the Rising Sun has been credited to Dave Van Ronk, who passed away the day of this concert. Here is our 1999 interview with Dave Van Ronk.)

founder of sociology…

The evening began with a presentation in celebration of the life and work of Great Barrington native W.E.B. DuBois by children from the Jubilee School of Philadelphia, an alternative community school that grew out of a neighborhood reading program. In addition to reading their own tributes and poems, as well as some Langston Hughes poetry, the students talked about their own social studies research project; DuBois is recognized as a founder of sociology for his study of urban blacks in Philadelphia in 1896 and 1897. The children ended their presentation with a stirring rendition of Amazing Grace.

Dave Brubeck at 2002 Tanglewood Jazz Festival

September 1, 2002 performance review by Dave Read

Three tunes into his 2½ hour 2002 Tanglewood Jazz Festival concert, Dave Brubeck said, “I like to introduce new stuff when I play here because the audience is so kind.” Makes you wonder if “here” referred to the seven year old Ozawa Hall where tonight’s gig was, or the Koussevitsky Music Shed, which opened when he was 18 in 1938, or just hereabouts, which would include the site of the fabled Music Barn and the Lenox School of Jazz, where he performed and taught during the 1950s. Regardless, what a treat it was to be in the audience while Dave Brubeck is introducing new material!

That new song was Crescent City Stomp, and it was built around an infectious beat established by drummer Randy Jones, a beat Brubeck said you hear all over New Orleans. Bobby Militello’s saxophone was the featured instrument after the drum intro and Brubeck himself was the most enthused member of the audience for a while, as he would be throughout the evening, whenever his bandmates took their many solos.

Rounding out the quartet, all dressed smartly in dinner jackets and black slacks, was bassist Michael Moore, who plucked and bowed several eloquent passages from his bass, which his languid body fairly enfolded. There were times when you’d think Moore was a ventriloquist for the cleanly enunciated lines he drew from his instrument, but an inartful one because all the while you could see his lips moving! (Read comprehensive bios of the band, from Hedrick Smith’s PBS show “Rediscovering Dave Brubeck.“)

Introducing the evening’s first tune, Brubeck said that for fifty years he started concerts with St. Louis Blues, but tonight would start with the title tune from his current release, “The Crossing.” He told about a trans-Atlantic jazz cruise with about 100 musicians aboard the QE II, which got underway on the Hudson, passed the Verazzano Narrows and into the Atlantic, ” – and we worked up a head of steam, which I hope we do tonight.”

They did.

The tune was some piece of magical mimicry; it was easy to imagine a grand ship honking and chugging away from the pier and soon enough finding its way into rough waters evoked by churning bass notes, then Brubeck took the helm playing long melodious lines, the ship rocking smoothly through eddies and swells.

In telling us that on September 21, he’ll celebrate his 60th wedding anniversary, Brubeck introduced the next tune, All My Love, a translucent ballad that had him hunched over the keyboard, his eyes only inches away from his hands playing so few notes that you could count them.

After The Crossing, came the haunting Elegy, an intimate composition that Ozawa Hall was designed for, where it seems to become part of the ensemble. Continuing in that vein, Brubeck introduced Don’t Forget Me with a few minutes of distant romantic lines that suddenly turned immediate and raucus with another of Militello’s expansive sax solos, and then had Brubeck’s hands flying all over the keyboard before he returned to the lonely little melody that he began with.

This was a very special evening of jazz, a million miles away from being a museum piece, every tune imbued with freshness and vigor. Brubeck’s age was apparent only when he stepped over to the mic, which he did several times to introduce tunes during the first set, which was probably pre-arranged as opposed to the second which I think he made up from the bench as he went along.

It began with Pennies From Heaven, dedicated to the people on the lawn who were being rained upon lightly. Brubeck played out the celestial theme in the next two tunes, Somewhere Over the Rainbow, and Sunny Side of the Street, developing each while the band listened to hear where they were going. Militello’s flute solo on – Rainbow was ineffably sublime. Sunny Side – was rollicking, and at one point Brubeck pointed toward Moore and drew a circle in the air, indicating another round of solos for all.

The audience responded to the celestial set with thunderous applause, which the quartet accepted graciously and which Brubeck seemed overwhelmed by, his grin so broad as he looked into the audience and then around to his band to spread out the acclaim. After his fans got quiet again, he mischievously noodled a few lines from Singing in the Rain then broke into the first notes of Take Five, the Paul Desmond composition from “Time Out,” the world’s first million-selling jazz record.

It was a thrilling rendition, featuring Militello’s slow reinterpretation of the theme before returning it to a rambunctiousness that Brubeck brought to a gleeful level which Randy Jones exploded with a virtuoso display of drumming. Brubeck brought the tune back to earth and then Jones laid down the tastiest little drum coda for the ultimate punctuation to this landmark of jazz.

Sustained applause brought these giants back on stage, Brubeck played a few notes of Brahm’s Lullabye to everybody’s amusement before the quartet re-loaded for Take the A Train, which was a rumbling jam session, the sea cruise of two hours earlier long over. It went on until Brubeck, answering a questioning look from Militello, raised his hands from the keyboard, turned them into pistols and fired a volley into the air.

This performance was a slice of jazz for the ages, delivered by the ageless gentleman genius Dave Brubeck and his virtuoso sidemen, each of whom was brilliant tonight.