Proof, if any is needed, of the enduring beauty and substance of Duke Ellington's music was this totally engaging concert by The Improvised Music Ensemble at Whelan's last night.
And if it was something of a triumph for TIME's (mostly young) musicians, it was an even bigger one for Rock Fox.
His supremely sensitive and intelligent "adjusting" and, at times, re-scaling of the originals was always informed by a deep understanding of the material and its capacities for balance and contrast - in ensemble voicings, in sequencing solos, in knowing when to support the soloist and when to leave him with just the rhythm section.
And it was also done with a sense of drama and, as another early jazzman once said, always keeping the music going some place.
The virtues of his approach - and those of the performers - were epitomised in such as the subtle shifting of instruments and voicings in Black and Tan Fantasy, Blue Feeling and the exuberant Stompy Jones (where a superb sax passage written for two altos, tenor and baritone turned out to be a transcription based on Harry Carney's baritone solo on the original).
On these -and virtually anywhere else throughout the concert - the blending of ensemble and solos was superb.
Leading from the front, Fox turned in a masterly display of musicianship on trumpet, soprano, alto and (especially on Warm Valley) baritone.
And Fox could call on impressive responses from the other guest with TIME, pianist Noel Kelehan (in great form), as well as Mark Bradley (trumpet/flugelhorn), Karl Ronan (trombone), Jim Farley (alto/ clarinet), Michael Buckley (tenor), Gerry Godley (baritone), with Michael Coady (bass) and Conor Guilfoyle (drums) completing a beautifully integrated, idiomatically apposite rhythm section.
There were some minor glitches - a few intonation problems early on, a somewhat rushed Take The `A' Train - but these paled to insignificance on a memorable salute to the Duke.
