Wynton Marsalis & the Lincoln Center Jazz Orchestra @ The Sage, Gateshead.

Wynton Marsalis, Marcus Printup, Kenny Rampton, Ryan Kisor (tpts). Chris Crenshaw, Vincent Gardner, Elliot Mason (tmbs). Victor Goines (ten/clt), Ted Nash (alt/clt/fl), Walter Blanding (ten/clt), Sherman Irby (alt/clt), Joe Temperley (bar/bass clt). Carlos Henriquez (bs). Ali Jackson (dms). Dan Nimmer (pno).

There was a buzz of anticipation in the bar area of Hall One as the pre-concert audience fortified themselves in readiness for the long awaited return visit of the Lincoln Center Jazz Orchestra and its leader Wynton Marsalis.

In the comfortably attended auditorium the tension mounted until, after the usual commercials from Ros, the musicians took their places and we were off.

I think Wynton announced the opening number as Offertory but I could be wrong. It was a piece portraying the Abyssinian Baptist Church in Harlem and had a slightly ecclesiastical feel to it. It sounded good even though this isn't a Basie style outfit that hits you smack dab in the middle with overwhelming power. Instead they got the ensemble over quickly and let the leader loose on an extended solo.

Loose perhaps isn't the right word - I don't think Wynton does 'loose'. Where he excels is in the restrained, perfectly controlled and brilliantly executed solo. If cool was back in fashion this would be cool.

Frank Wess's Magic saw Sherman Irby lighting up on alto. A soft, almost ethereal, sound that gradually built up to a meaty climax.

Portrait in Seven Shades related to the Surrealism of Salvador Dali and this abstraction was increased by the 13/8 time signature, an esoteric trumpet/alto duet (Marcus and Ted) and a driving percussion section that brought it home on a high.

Marcus, I thought, more than held his own with the leader - he had much fire in his belly particularly on Down By The Riverside.

Needless to say, the rhythm section were in the driving seat throughout with piano, bass and drums doing interesting things behind the soloists as well as having their own moments of glory.

One of the stranger choices was a couple of nursery rhymes - Itsy Bitsy Spider and Baa Baa Black Sheep! Joe played bass clarinet on the first whilst Ted Nash played flute. However the kudos on this 'medley' surely went to Walter Blandings for his tenor solo.

An up-tempo number saw Wynton at last going for broke and he drew the applause as did Joe Temperley on the next two.

Ellington's Petal of a Rose saw Joe, rich and luxuriant, on bass clarinet - I don't think I've ever heard a bass clarinet sound so full and round-toned. Likewise his baritone blast on Jack The Bear. The legacy of Harry Carney is in safe hands here.

This brought the interval-less concert to a close but, of course, we demanded more and got less!

By which I mean a segment of the band came on for the encore and played - I kid you not - Jelly Roll Morton's New Orleans' Bump which was done quite imaginatively. Then it was all over and the deserved applause included several standing ovs.

Because Joe Temperley wasn't in the small group encore I missed the chance to chat with him backstage - he'd returned to The Hilton to watch some football!

Lance.