The performances are just marvelous. JoAnn Falletta catches the music’s “swing” in vivid interpretations that challenge Peress in their vitality, color, and verve. The various instrumental soloists, especially Sal Andolina’s clarinet in Three Black Kings and Tony Di Lorenzo on trumpet in Take the ‘A’ Train (and elsewhere), are all brilliant, and captured by Naxos’ engineers in bright, natural, high-impact sound. This is a very necessary release, but one that should get a lot of play as well. It’s a joy. © 2013 ClassicsToday.com Read complete review

The first movement [of Three Black Kings] features the xylophone quickly followed by bongos, drums, piano, strings and finally brass which is repeated with intervals of lush strings and brass intertwined. Solomon begins with a romantic violin and harp followed by an oboe offering before tempo and style change to a big band dance style with smooth brass and woodwinds complimented by pizzicato from the strings. A nice alto sax solo from Sal Andolina adds to the movement nicely. The brass also takes their turn with wonderful harmony that enhances Andolina’s exquisite solo.

This recording comes with my highest recommendation and should be a part of your collection. © 2013 Film Music: The Neglected Art Read complete review

“Black, Brown, and Beige,” the title of the recording, is the musical anchor of this release. Originally premiered in 1943, Ellington re-arranged the fifty-minute, three movement work and created the “suite” that is presented here. With each part of the piece representing an aspect of African-American culture (faith in prayer, the soldiers who died fighting for our country, and the 1920’s Renaissance in African-American music), Maurice Peress’ orchestration of the trilogy creates a quality rendering into the musical influences of Ellington, as well as a look at those white composers who were listening to his music, including George Gershwin and Leonard Bernstein.

“The River: Suite” was written in 1970, and shows off the diversity of the orchestra, that handles all five movements with style and groove. “Three Black Kings,” a ballet that was completed by Duke’s son, Mercer Ellington, after his father’s death, features the skillful Sal Andolina on both clarinet and alto saxophone. The finale of this disc is probably Ellington’s most well-known piece: his arrangement of Billy Strayhorn’s “Take the ‘A’ Train.” The orchestra is clearly enjoying its detour into the jazz world, which includes some wonderful thematic surprises during the individual solos presented in the piece. © EDGE on the Net

Three Black Kings deploys railroad rhythm excitement in King of the Magi, more dank Delian bluesiness and sighing romance in King Solomon and deep affection in the extremely likeable Martin Luther King movement.

Take the ‘A’ Train was Ellington’s signature number. It is incurably up-beat and street-confident. That’s what it gets from Buffalo and Falletta. The extended violin solo from Amy Licata is worthy of Grappelli.

A vital and very generous collection showcasing a concert Ellington who loved his commercial roots yet had more to give and gave it. © 2013 MusicWeb International Read complete review