Wynton MARSALIS - Black Codes (From the Underground) 1985

Wynton MARSALIS - Black Codes (From the Underground) 1985

Jazz

Without overtly meaning to, Wynton and Co. have created a superb tribute to the classic Miles Davis Quintet of the mid-1960s (the edition featuring Wayne Shorter's sax, Herbie Hancock's piano, Ron Carter's bass and the late Tony Williams' drums) without coming off as a pale imitation. The interplay of Wynton's group is so tight and empathetic it's uncanny. No one over-plays, and the various instrumental elements combine perfectly into a seamless whole. The tunes are memorable and have a strong sense of dynamics. Modern small-group jazz (rooted in the '60s traditions a la Miles and Wayne) at its very best.
From CD Universe.
**
Wynton Marsalis- (Trumpet);
Branford Marsalis- (Tenor Sax);
Kenny Kirkland- (Piano);
Ron Carter, Charnett Moffett- (Bass);
Jeff "Tain" Watts- (Drums).
**
01. Black Codes
02. For Wee Folks
03. DeLfeayo's Dilemma
04. Phryzzinian Man
05. Aural Oasis
06. Chambers of Tain
**
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Wynton MARSALIS - Standards & Ballads 2008

Wynton MARSALIS - Standards & Ballads 2008

Jazz

This CD includes 14 classics such as Hoagy Carmichael’s “Stardust, ” the Gershwins’ “Embraceable You, ” Rodgers & Hart’s “Where Or When, ” Sammy Cahn and Jule Styne’s “I Guess I’ll Hang My Tears Out To Dry, ” Vernon Duke’s “I Can’t Get Started, ” and nine more, including Duke Ellington’s “Flamingo.”
Standards & Ballads is one of his most accessible, featuring tender renditions and beautiful arrangements of some of the best-known love songs of all time.
**     
"Even though I write a lot of music, I have always loved to play standards because they create a mood of expectation from the audience, even if they do not know the standard. That is the most magical thing about standards. They communicate well to the novice as well as the experienced jazz listener, which is the perfect audience, primarily because at the moment of communication, all knowledge becomes equal." ~ Wynton Marsalis ~

Released in January of this year, "Standards & Ballads," is Wynton Marsalis' latest offering and gift to jazz lovers. It is a collection of beautiful jazz tunes that he recorded between 1983 and 1997 and taken from eight different albums. It is a mix of timeless standards and some of his originals. Among the finest musicians who are featured in these recordings include his father and brother, Ellis Marsalis and Branford Marsalis, respectively, and Ron Carter (bass), Kenny Kirkland (piano) and Lewis Nash (drums).

Wynton Marsalis has outdone himself in playing one of my favorite tunes from this collection, "Stardust"... the arrangement is classically-infused and it is sooo beautiful that I listened to it repeatedly. On this track, he is joined by his brother, Branford Marsalis on both tenor and soprano sax, Kent Jordan on alto flute, Kenny Kirkland on piano, Ron Carter on bass and Jeffrey Watts on drums. I can imagine Hoagy Carmichael from above giving them thumbs-up and listening with pride for what these creative musicians have done to his masterpiece. This track was recorded in 1984 and was taken from Hot House Flowers.

Marsalis' exceptional flair in trumpet is also evident on his delivery of a Jule Styne melody, "I Guess I'll Hang My Tears Out To Dry"... it is lyrically and harmonically overflowing with charms. This was recorded in 1997 and was taken from Standard Time, Vol.5: The Midnight Blues.

Shirley Horn graced this recording with her most recognizable voice in Vernon Duke and Ira Gershwin's "I Can't Get Started" making it one of the high points on this compilation. This was taken from the soundtrack of a 1990 film, The Original Soundtrack From Tune In Tomorrow.

This is such a gorgeous collection of standards from a fine trumpet player that is meant to be listened to and enjoyed for all seasons through all the years. With my heartfelt recommendation.
By  Rebecca.
** 
Wynton Marsalis has been described as the most powerful jazz musician in America today. "Powerful" is an appropriate adjective not only for his commitment to jazz education and proliferation (he made Jazz at Lincoln Center an internationally respected name) but also for his calm, controlled, and thoughtful approach to the trumpet. When you hear him drag on the melodic lines of My Ideal (tk 7) à la Miles Davis, or pound on the staccato beats of When It's Sleepytime Down South (tk 1) or float, muted, over the drum beat of Flamingo (tk 14), you recognize the depth of his art and the strength he has in knowing when to push and when to let. The arrangement of April In Paris (tk 12) is a standout of the album - the quartet dramatically changes feels from a hurried straight to a loose swing throughout - highly recommended. Marsalis co-produced this compilation of jazz standards and by choosing unusual standards and unique performances, we see how attentive he is to reinterpreting the shared language of the jazz world.
By  A. Gillette.
**
01 When It's Sleepytime Down South 05:12
02 Stardust 04:11
03 Embraceable You 07:16
04 Reflections 06:19
05 After You've Gone 05:45
06 The Seductress 02:57
07 My Ideal 06:22
08 Spring Yaounde 06:02
09 Melancholia 05:11
10 Where Or When 02:52
11 I Guess I'll Hang My Tears Out To Dry 05:57
12 April In Paris 05:07
13 I Can't Get Started 05:23
14 Flamingo 03:21
**
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Wynton MARSALIS - Unforgivable Blackness 2004

Wynton MARSALIS - Unforgivable Blackness 2004

Jazz

The legendary Jack Johnson, the first African-American heavyweight champion, is the subject of Ken Burns's 2005 PBS documentary, and Wynton Marsalis (a major figure in the filmmaker's 2000 miniseries, Ken Burns's Jazz) turns in a brilliant original score that captures the courage, chaos, and controversy of Johnson's racially charged feats and exploits. Compositions by Jelly Roll Morton and W.C. Handy augment the leader's quasi-Ellingtonian ragtime, blues, dirges, ballads, and stride selections. Also included are four previously released tracks, two from Mr. Jelly Lord and two from Reeltime, the Marsalis score made for (but ultimately not used in) the movie Rosewood. Of course, Marsalis is on his best trumpet behavior, and he shows a real and unacknowledged talent for writing in this idiom.
By Eugene Holley, Jr. AMG.
**
Who better to invoke the past in tune than Wynton Marsalis? After all, the stick-in-the-mud trumpet virtuoso reveres the days of yore as few others playing today, proffering them nightly before sellout crowds the world round. So when the gig came up to score Ken Burns' new documentary, Unforgivable Blackness: The Rise and Fall of Jack Johnson , the choice was simple, almost ordained.
As evidenced by the title, boxer Jack Johnson's life was a dervish of accomplishment and misfortune—ascending to highs of heavyweight triumph, then plummeting to brutal lows of racial persecution and social exile. Such a life requires an accompaniment as varied as its own travails and indulgences and thus Marsalis' score was forced to shift with the shifting tides of Johnson's tragic tale.

The twenty-odd tracks on the disc are appropriately drenched in these turns and likewise shaped to convey the musical forms that populated the boxer's times. Ragtime stomps, strides and blues allow Marsalis and company to paint an evocative portrait of Johnson's America, or rather the America that built and broke the fighter's legendary spirit.

Perhaps the most surprising quality of this recording is the way in which intended antiquation blends with inevitable modernity. For card-carrying Ragtimers, a measure of delight will be found in hearing contemporary musicians whoop, squall, bump, grind and gut-bucket to fresh compositions, captured without the blips, scratches and echoes of jazz music's earliest recordings.

What's more, the album even offers an occasional taste of modern lyricism (see Victor Goines' tenor solo on "New Orleans Bump"), cleverly manifesting the unflappable progressiveness at the core of Johnson's legacy.

Although Marsalis and Burns may forever be the subject of distaste and criticism, this new collaboration is certainly worth a listen.
By Riel Lazarus.
**
Wynton Marsalis's, soulful, syncopated and very moving score is one of the finest jazz scores to have emerged since Duke Ellington did ANATOMY OF A MURDER. Marsalis draws on blues, dance and jazz idioms of the period conducting a small ensemble with all the right pieces and plenty of brass.
The opening cut, "What have you done?" is (not to pun, please) a knockout. It is dark, rhythmic and ominous. It prophesies the tragedy to befall Johnson in his prime. By comparison, the closer, "We'll meet again someday" speaks of Johnson's growing impotence in his fall from grace. Eric Lewis's nimble piano and Victor Goines' spicy clarinet, remind listeners the world continued to spin in the midst of Johnson's tragedy, and that the same world would continue to wreak havoc with its proprietary racism, politically condoned and socially acceptable, both now and then.
EMI's engineers deliver a crisp, natural acoustic to the proceedings. Liner note are interesting, but might have been longer, particularly the section written by Burns' colleague, Geoffrey C. Ward.
In all, the performance merits a more regal presentation, although I'm grateful we have it in any form.
By  Birdman.
**
Wynton Marsalis- Trumpet;
Wessell Anderson- Alto saxophone, Clarinet;
Victor Goines- Clarinet, Tenor saxophone, Bass clarinet;
Wycliffe Gordon- Trombone, Tuba on "New Orleans Bump;"
Lucien Barbarin - Trombone;
Eric Lewis- Piano, Washboard on "What Have You Done?"
Eric Reed- Piano;
Reginald Veal- Bass;
Herlin Riley- Drums, Tambourine;
Doug Wamble, Don Vappie- Banjo, Guitar;
Dr. Michael White, Sam Karam, Sherman Irby, Andrew Farber- clarinet; Gideon Feldstein- Clarinet, Bass clarinet on "Fire in the Night;"
Marcus Printup- Trumpet on "Fire in the Night;"
Stephen Riley- Tenor saxophone on "Fire in the Night;"
Kimati Dinizulu- Percussion on "Fire in the Night."
**
01. What Have You Done?
02. Ghost in the House 
03. Jack Johnson Two-Step 
04. But Deep Down
05. Love & Hate 
06. High Society
07. Careless Love
08. New Orleans Bump
09. Trouble My Soul
10. Deep Creek
11. Johnson 2-Step
12. Rattlesnake Tail Swing
13. Weary Blues
14. Troubles My Soul
15. Johnson Two-Step
16. Fire in the Night
17. Morning Song 
18. I'll Sing My Song
19. Buddy Bolden's Blues
20. Last Bell
21. We'll Meet Again Someday
**
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Wynton MARSALIS - Levee Low Moan (Soul Gestures in Southern Blue, Vol. 3) 1991

Wynton MARSALIS - Levee Low Moan (Soul Gestures in Southern Blue, Vol. 3) 1991

Jazz

I never could understand why most critics believe Wynton Marsalis took a huge step back with his "Soul Gestures In Southern Blue" recordings. I am even more baffled on as to why they consider this installment (vol 3) to be the weakest of the series. I personally believe "Levee Low Moan" is one of Wynton's finest, and I think it is a much more solid entry than "Joe Cool's Blues", any of his "Standard Time" recordings, and even "Black Codes".

ALL of the songs on this album are memorable. There is some serious swinging on the title track and a MUCH improved version of "So This Is Jazz, Huh?" Perhaps the crown jewel of this album is "Superb Starling": an odd-metered beauty of a ballad featuring beautiful lyricism and a smoldering saxophone duel that will make you fall in love with jazz all over again. The album overall also includes some beautiful piano work, courtesy of Marcus Roberts.

"Levee Low Moan" is easily Marsalis's most overlooked and most underappreciated album. Give this album a chance. You might be pleasantly surprised.    
By Zonkmiles.
**
Todd Williams- Tenor and Soprano Saxophone
Marcus Roberts- Piano
Herlin Riley- Drums
Reginald Veal- Bass
Wynton Marsalis- Trumpet
**
01. Levee Low Moan, Marsalis   11:12
02. Jig's Jig, Marsalis    8:47
03. So This Is Jazz, Huh?, Marsalis    7:00
04. In the House of Williams, Williams    10:05
05. Superb Starling, Marsalis    11:38
**
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Wynton MARSALIS - He and She 2009

Wynton MARSALIS - He and She 2009

Jazz

As the title to WYNTON MARSALIS's fifth Blue Note release indicates, He and She is about that eternally compelling and most elemental of subjects: the relationship between a man and a woman. The Pulitzer Prize-winning composer, trumpeter, and band leader, however, hasn't merely crafted a love story, but a life story -- a bittersweet rumination about the evanescence of life as well as the elusiveness of romance. Time is very much at the heart of He and She: the swift passage of time over the course of one's life, the mood-altering shifts of time within the duration of a song. It's an ambitious effort, combining spoken word and music, and Marsalis has given his quintet some formidable charts. The album is tempered with dashes of humor and plenty of swing. There's ease and elegance and more than a little wisdom in these grooves.
Backed by his regular band, Wynton Marsalis's HE AND SHE is a concept album with the underlying theme of relationships between men and women as major artistic inspiration. While there are moody and serious tracks ("Fears" and brief spoken word interludes), there is also the genial and graceful mid-tempo "The Razor Rim," wherein Wynton's horn sings like it's the first day of spring. Both the blues-drenched "School Boy" and "A Train, A Banjo, and a Chicken Wing" reflect a powerful 1920s Louis Armstrong influence (the latter featuring a soaring, searing sax solo from Walter Blanding). The surreal and short "First Crush" is a tip-of-the-hat to the freer (yet lyrical) side of early `60s John Coltrane. Copiously contemplative with several shades of nostalgia and melancholy, HE AND SHE is both serious art and serious fun.
**        
 The expansive discography of Wynton Marsalis has covered a wealth of material including the fierce modern mainstream of Black Codes: From the Underground (Columbia, 1985), the three CD-set Blood On the Fields (Columbia, 1995) which won a Pulitzer award in 1997, and some bar-room fun in Two Men With the Blues (Blue Note, 2008) with singer Willie Nelson. Now the iconic jazz trumpeter/composer explores the subtle dynamics of relationship between a man and a woman in He and She, a recording that combines jazz and poetry in a familiar and entertaining package.
Familiar in the fact that Marsalis, an ardent purveyor of jazz's history, delivers once again, music that has been heard throughout his repertoire. The jubilant "School Boy" with its ragtime / New Orleans rhythms, the luxuriant waltz of "The Sun and the Moon," playful swing in "Sassy," and a blues in "A Train, A Banjo, and A Chicken Wing," have all been witnessed in memorable recordings such as The Marciac Suite (1999) and Big Train (1999), both on Columbia Records.

Regardless, this project is vintage Marsalis, and that equates to exquisitely crafted jazz, now delivered by a top-notch quintet of young musicians including Walter Blanding (saxophones), Dan Nimmer (piano), Carlos Hendriquez (bass), and Ali Jackson (drums), each showing their dazzling abilities throughout the recording.

The master trumpeter also shows some deft skills as a poet which was first witnessed on the controversial but outstanding From The Plantation to the Penitentiary (Blue Note, 2007). Here, he reads verses from his eponymous titled poem "He and She" which alternately sets up each instrumental track. These brief preludes are filled with humor, emotion and attitude, creating anecdotal stories of adolescence, maturity, romance, love, and loss.

One section of the poem speaks of a dangerous conquest in one of the recording's most complex tracks, "The Razor Rim," a bopping tale of desire, moving from "Swinging 3/4" to "Elvin Jones 5/4" to "Modern 4/4 Swing" (as noted in the track notes). Another section covers the simple mathematics of lost love as Marsalis reads "1 + 0 = 0, remembering me without you," a fitting introduction to the blue balladry in "Zero." Other ideas include a "suite of firsts" in "First Crush," "First Slow Dance," etc., which may conjure up long forgotten memories.

The recording culminates with the poem read in its entirety; a fitting ending to the program. While there's nothing ultimately new here, from start to finish He and She is performed to the hilt and swings gloriously with plenty of panache. Fans will not be disappointed and newcomers who are just getting introduced to Wynton Marsalis can let the courtship begin.
By Mark F. Turner. AAJ.
**
Wynton Marsalis- Trumpet;
Walter Blanding- Saxophones;
Dan Nimmer- Piano;
Carlos Hendriquez- Bass;
Ali Jackson- Drums.
**
01. Poem 1 00:13
02. School Boy 06:49
03. Poem 2 00:27
04. The Sun And The Moon 06:31
05. Poem 3 00:10
06. Sassy 05:17
07. Poem 4 00:17
08. Fears 03:32
09. Poem 5 00:16
10. The Razor Rim 12:05
11. Poem 6 01:02
12. Zero 02:18
13. Poem 7 00:36
14. First Crush 01:52
15. First Slow Dance 04:38
16. First Kiss 03:21
17. First Time 04:47
18. Poem 8 01:06
19. Girls! 05:47
20. Poem 9 00:59
21. A Train, A Banjo, And A Chicken Wing 08:13
22. He And She 05:01
**
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Wynton MARSALIS - Uptown Ruler(Soul Gestures in Southern Blue, Vol.2) 1994

Wynton MARSALIS - Uptown Ruler(Soul Gestures in Southern Blue, Vol.2)  1994

Jazz

The second of the three-part Soul Gestures in Southern Blue finds Wynton Marsalis at a transitional spot in his career. While his pianist Marcus Roberts had largely found his own style, the trumpeter was still searching and had not yet thrown off the dominant Miles Davis influence. This quintet outing (which also features the tenor of Todd Williams, bassist Reginald Veal, and drummer Herlin Riley) lacks any memorable melodies, although the playing is fine. But overall, the music is much more forgettable than Stanley Crouch's rather incredible liner notes. This CD can be safely passed by in favor of Marsalis' more recent projects.
By Scott Yanow.AMG.
**
Wynton Marsalis's "Soul Gestures in Southern Blue" series has been seen as the dark horse of his discography, and to this day, I'll never understand why.
"Uptown Ruler" opens with a majestic procession that leads into the title track, an odd-metered blues, which is perhaps the high point of the album. The album then sinks into the smoldering world of bluesy ballads before finally building to a climax with "Down Home With Homey". Be sure to check out everyone's solo on this track.
The final song is a grand restatement of the opening theme, this time with all horns proudly playing. You will not be disappointed by this CD, although his quintet on this album does have a distinctly different sound from most of his other groups.
By  Zzonkmiles.
**
Reginald Veal- Bass
Marcus Roberts- Piano
Herlin Riley- Drums
Todd Williams- Tenor and Soprano Saxophone
Wynton Marsalis- Trumpet
**
01. Psalm 26  1:28
02. Uptown Ruler  11:10
03. The Truth Is Spoken Here  6:50
04. The Burglar  8:37
05. Prayer  6:27
06. Harmonique  4:53
07. Down Home With Homey  11:55
08. Psalm 26  1:36
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Wynton MARSALIS - Big Train 1999

Wynton MARSALIS - Big Train 1999
Recorded at Masonic Grand Lodge, New York,
on December 20, 1998.

Jazz           

All Aboard. In keeping with the Ellington precedence, Wynton Marsalis has been composing longer and longer jazz pieces, music that approximates suites. Starting with The Majesty of the Blues (1989) and proceeding through Blue Interlude (1992), Citi Movement (1993), In This House, On This Morning (1994), Jump Start and Jazz (1997), and the Pulitzer Prize winning Blood on the Fields (1997). Add to this list Big Train. Big Train is perhaps Marsalis most cogent and consistent composition in the suite genre. It is precisely composed and performed.

Happy Go Lucky Special. The overwhelming influence here is Ellington. The rhythm of this disc is saturated with his unique saxophone express. What Marsalis brings to the mix is a more judicious use of space and the rhythm section. Ellington may never have written a note that was not necessary, but his compositions are busy pieces, even if blindingly brilliant. Marsalis, through the LCJO’s rhythm section sets up an easy rhythm, sometimes chugging, sometimes walking, always propelling forward. If you don’t believe me, compare “Union Pacific Big Boy”, “Northbound—Southbound”, and “Engine”.

But Ellington is not the only influence. “Smokestack Shuffle” is as much a Thelonious Monk piece as “Friday the 13th”. This disc is also quite instrument specific. As typical of a Marsalis composition, the listener is drowning in plunger-muted brass. Always a fan of the clarinet, Marsalis has written a good deal of clarinet into this piece with all of his reed players contributing on clarinet. A fun ride.

The Big Train Reprise. Big Train is the forth installment in the eight volume “Swinging into the 21st Century” Set. It continues the provocatively creative trend that Marsalis has begun with the release of his Standards Volume 5 collection of Monk tunes. Recommended.
By C. Michael Bailey.
**
Wynton Marsalis- Trumpet
Seneca Black- Trumpet;
Ryan Kisor- Trumpet;
Marcus Printup- Trumpet;
Riley Mullins- Trumpet;
Wayne Goodman- Trombone;
Wycliffe Gordon- Trombone, Tuba;
Ronald Westray- Trombone;
Wessell Anderson- Alto and Sopranino Saxophone, Clarinet;
Ted Nash- Alto and Soprano Saxophones, Piccolo, Clarinet, Bass Clarinet, Flute;
Walter Blanding, Jr.- Tenor, Alto, and Soprano Saxophones, Clarinet;
Victor Goines- Tenor, Alto, and Soprano Saxophones, Clarinet, Bass Clarinet;
Joe Temperley- Baritone Saxophone, Bass Clarinet, Soprano Saxophone;
Farid Barron- Piano;
Rodney Whitaker- Bass;
Herlin Riley- Drums;
Roland Guerrero- Percussion;
Doug Wamble- Guitar and Banjo.
**
01. All Aboard
02. Observation Car
03. Union Pacific Big Boy
04. Smokestack Shuffle
05. Northbound-Southbound
06. Dining Car
07. Night Train
08. Engine
09. Bullet Train
10. Sleeper Car
11. Station Call
12. The Caboose
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Wynton MARSALIS Quartet - Live at Blues Alley 1986

Wynton MARSALIS Quartet - Live at Blues Alley 1986
Recorded at: Blues Alley, Washington, D.C. (1986)

Jazz

This double album features the great trumpeter Wynton Marsalis and his 1986 quartet, a unit featuring pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff "Tain" Watts. Although Marsalis during this period still hinted strongly at Miles Davis, his own musical personality was starting to finally shine through. With the versatile Marcus Roberts (who thus far has been the most significant graduate from Marsalis's groups), Wynton Marsalis was beginning to explore older material, including on this set "Just Friends," and "Do You Know What It Means to Miss New Orleans?" other highlights include lengthy workouts on "Au Privave" and Kenny Kirkland's "Chambers of Tain." This two-fer is recommended, as are virtually all of Wynton Marsalis's recordings.
By Scott Yanow, All Music Guide.
**
This review will NOT discuss: 1) whether Wynton is the natural successor to Miles Davis, Duke Ellington, or anybody, and 2) any statements made by Mr. Marsalis or his bandmates regarding politics and/or jazz music in general since this recording was made.

This album, recorded in December 1986, was released 2 years later and mostly ignored. By the age of 25, Wynton had conquered both the classical world and the PBS crowd, and had played with almost everybody. He was recording a group of standards albums for Columbia when someone decided it was time for a double live set. The only problem was, double live sets weren't selling anymore, even though jazz was experiencing a 15-minute window where it became an acceptable yuppie diversion. Since this time, Wynton has almost never performed in the quartet format, preferring much larger ensembles. Consider this album to be a time capsule - if you can set aside the Marsalis baggage, and love the trumpet or jazz in general, you will be greatly rewarded.

Even though fanatical devotees will sneer he has left these performances in the dust, this concert is a virtual encyclopedia of Wynton's style. Listen to 1000-notes-a-minute in the opening "Knozz-Moe-King", his use of mutes on "Just Friends" and "Cherokee", his subtle shift from fluid to shrill in "Chambers of Tain", and his long opening solo in Charlie Parker's "Au Privave". At the time of this recording, no one else in jazz was playing like this. You cannot discuss jazz trumpet in the late-1980s without mentioning Wynton, and these performances show why. It's easy to want to compare pianist Marcus Roberts with Hancock/Monk/Tyner/Jarrett et al, but the man absolutely has his own impeccable style. Almost every solo he takes is a jaw-dropper, but special mention must be given to the intensity of his trade-offs with Wynton on "Delfeayo's Dilemma". As for the rhythm section, bassist Robert Leslie Hurst III and drummer Jeff "Tain" Watts both are solid contributors and shine in their solos. These are no mere "backing musicians".

While some will make note of the "out there" free cover of "Autumn Leaves", or the over-the-top versions of "Skain's Domain" and "Much Later" (both from the wonderful J-Mood album), the real stunner is the heart-breaking "Do you know what it means to miss New Orleans?" This is a perfect example of the haunting "after hours" ballads that Wynton does so well, and sadly so rarely. The mournful "closin'time" tone of his horn has to be heard to be believed.

What might not be to everyone's taste is the fact this album was recorded with what I call the "retro" mix: piano in the left-channel, drums in the right-channel, with the trumpet and bass occupying the middle ground. Because this album was not a huge hit, nor has become a cult favorite, it's unlikely to receive a remix/remaster. For those who are put off by the almost 2-hours length, listen to one disk on one night, the other disk on the next, and double your pleasure. In spite of any imperfections, that Wynton was able to make an album like this when everyone else was exploring pop/world music/new age/avant-garde and large ensembles is a true miracle. Listen, remember, marvel, and enjoy!
By  Steve Wyzard.
**
Marcus Roberts- (Piano),
Robert Hurst- (Bass),
Jeff "Tain" Watts- (Drums),
Wynton Marsalis- (Trumpet),
Delfeayo Marsalis- (Mixing),
Jason Marsalis- (Special Edits).
**
Cd 1:

01. Knozz-Moe-King 6:06
02. Just Friends 8:21
03. Knozz-Moe-King 3:52
04. Juan 7:33
05. Cherokee 2:50
06. Delfeayo's Dilemma 9:20
07. Chambers Of Tain 15:11
08. Juan (E. Mustaad) 2:56

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Cd 2:

01. Au Privave 14:38
02. Knozz-Moe-King 2:37
03. Do You Know What It Means To Miss New Orleans 11:30
04. Juan (Skip Mustaad) 3:15
05. Autumn Leaves 9:41
06. Knozz-Moe-King 3:48
07. Skain's Domain 9:40
08. Much Later 6:15
**
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Wynton MARSALIS - Marsalis Plays Monk (Standard Time, Vol.IV) 1999

Wynton MARSALIS - Marsalis Plays Monk (Standard Time, Vol.IV) 1999
Label: Columbia/Sony
Original Release Date: May 18, 1999

Jazz

On this 1994 recording, trumpeter Wynton Marsalis and trombonist Wycliffe Gordon arrange the music of Thelonious Monk in a warm and witty neoclassic setting that typifies Marsalis's tradition-in-transition approach to jazz. Joining Marsalis and Gordon are drummer Herlin Riley, bassists Reginald Veal and Ben Wolfe, tenor saxophonists Walter Blanding and Victor Goines, Wess Anderson on alto and soprano sax, and pianist Eric Reed.
Monk's unconventionally structured blues and riff-based compositions are an important part of the jazz canon and Marsalis and company rise to the task of interpreting them. The 4/4 opener, "Thelonious," features a parade-style, stop-time intro with Anderson's ornithological, Charlie Parker-inspired tones, and Marsalis's burnished brass. The tap-dance feel of "Evidence" is maintained courtesy of the rhythm section, while the whimsical "We See" swings with Anderson's soprano sax and Reed's piano dancing on the melody. "Brake's Sake," "Green Chimneys," and "Worry Later" are solidly set in Riley's Congo Square-Latin-tinged drum work, Marsalis's laughing wah-wah sounds and clarion open horn solos, and Goines's towering tenor. A boppish horn line sets off "Four in One" and "Brilliant Corners" and is brilliantly decoded, while Marsalis's tune "In Walked Monk" (a play on Monk's "In Walked Bud") is reminiscent of Tadd Dameron's ensemble sound. The ballads include the dirgelike "Monk's Mood," with Marsalis's hazy mute, and the twilight-toned "Reflections." On "Ugly Beauty" Marsalis duets with Reed, who throughout this recording synthesizes Monk's dark tonal clusters and stride-piano techniques into his own fleet-fingered keyboard conception.
By Eugene Holley Jr. AMG.
**
Wynton Marsalis- Trumpet
Walter Blanding, Victor Goines- Tenor Saxophone
Wessell Anderson- Alto Saxophone
Wycliffe Gordon- Trombon
Eric Reed- Piano
Reginald Veal, Ben Wolfe- Bass
Herlin Riley- Drums
**
01. Thelonious 4:51
02. Evidence 4:26
03. We See 3:20
04. Monk's Mood 3:02
05. Worry Later 6:15
06. Four in One 5:49
07. Reflections 6:15
08. In Walked Monk 4:23
09. Hackensack 3:04
10. Let's Cool One 4:11
11. Brilliant Corners 4:50
12. Brake's Sake 6:59
13. Ugly Beauty 2:38
14. Green Chimneys 4:42
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Wynton MARSALIS, Liconln Centre Jazz Orchestra with Wynton Marsalis - Love Supreme 2005

W.MARSALIS, Liconln Centre Jazz Orchestra with Wynton Marsalis - Love Supreme 2005
Label: Palmetto

Jazz

In 1964 John Coltrane recorded A Love Supreme with McCoy Tyner, Jimmy Garrison, and Elvin Jones. It's one of most influential and imposing jazz suites ever written, and on this debut CD for the Palmetto label, The Lincoln Center Jazz Orchestra, featuring Wynton Marsalis, adapts Coltrane's immortal composition to the big band. Not to be outdone by his brother Branford's quartet version of this material recorded live on DVD, Wynton and company skillfully extend and elaborate on the Coltrane's work, and preserve the soul-searching spirit of the four-part suite, which deals with the blues, 4/4 swing, Afro-Latin rhythms, and ballads. Pulsed by Carlos Henriquez's sure-footed basslines, Herlin Riley's spiritual syncopations and Earl Lewis's profound pianisms, saxophonist Wess "Warmdaddy" Anderson's Tranish cries, and the leader's triumphant trumpet tones are as fluent and fierce as ever. Collectively, this brilliant orchestra goes where no large ensemble has gone before.
By Eugene Holley, Jr.
**
I admit, I was sceptical when this CD was first handed to me. And "yes" I am a firm believer that some material should not be covered - like "Take Five" for example. No variation, improvisation, or arrangement could ever reach the heights of that original. I had put "A Love Supreme" in that category as well ... until I heard Wynton's brother Branford's live recording of "A Love Supreme", released in late 2004. So Wynton was under quite some pressure to deliver ...
And here are my ten Cents: I love this CD. In fact, I am listening to it over and over again, always discovering new nuances in Marsalis' smart big band arrangements. He leaves enough space for each musician - including himself - to show their artistic talents while never losing the cohesiveness needed to make this production work. It's a treat for the jazz-loving ear. Appropriately challenging, yet flowing and fresh. There is an Ellingtonian grandeur to the recording and Wynton Marsalis' classcial music training certainly came in handy here. Incidentally, "A Love Supreme" was produced by yet another member of the Marsalis family, brother Delfeayo.
By Kate Says.
**
Wynton Marsalis- (Trumpet),
Lew Soloff- (Trumpet),
Marcus Printup- Ttrumpet),
Ryan Kisor- (Trumpet),
Weiss "Warmdaddy" Anderson- (Saxophone),
Ted Nash- (Saxophone),
Walter Blanding- (Saxophone),
Victor Goines- (Saxophone),
Joe Temperley- (Saxophone),
Ronald Westray- (Trombone),
Vincent Gardner- (Trombone),
Andre Hayward- (Trombone),
Eric Lewis- (Piano),
Carlos Henriquez- (Bass),
Herlin Riley- (Drums)
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01. Acknowledgement   11.24
02. Resolution   9.42
03. Pursuance    12.82
04. Psalm    12.07
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Wynton MARSALIS - Carnaval 1987

Wynton MARSALIS - Carnaval 1987
(Wynton Marsalis, Donald Hunsberger, Eastman Wind Ensemble)
Label: Sony Classical

Jazz   

Marsalis is an excellent trumpet player, there is no question as to that. He is certainly not the best in the world, however. I prefer a better recording of Carnival of Venice and many other cornet solos by Gerard Schwarz. The spirit of such solos is lost when they are put to ensemble accompaniment, Schwarz interprets them far better in my opinion. Also, his technical mastery is at least equal to that of Wynton's, or was when he made the album. His sound is sweeter and more perfect to my ear. And this is not the only album in which you can hear dazzling technical pieces, either. Sergei Nakariakov, Rafael Mendez, and Allen Vizzutti are the most proficient players with recordings out there. Nakariakov and Mendez both do better readings of the Paganini, playing the entire song double-tonguing and circular breathing. The Mendez Flight of the Bumblebee has a much better sound and fits the piece more, too. The most amazing song I have ever heard is the Carnival of Venus, by Vizzutti. Listen to anything by Wynton and then this song, you will be absolutely amazed. The last variation of the Marsalis is Vizzutti's first, and they get harder from there. Simply put, this is a good recording and the most accessible, but there are better ones out there. I wouldn't buy this to hear cornet solos or amazing technical pieces, but for hearing other interpretations. I prefer Schwarz, Mendez, Vizzutti, and Nakariakov.
By  A. Katko.
**
This review is from: Carnaval (Audio CD)
Marsalis is indeed an amazing player with a superd technique. The showpieces (e.g. the Bumble Bee, the Arban Variations) are simply dazzling. Wynton's command of the high range is also spectacular, listen to the high F at the end of the Carnaval of Venice, or the Clarke piece. This disc is not merely a showcase for technique, some touching lyrical pieces are included. You may fall in love with the Motherless Child song after just a few bars.
This is a tastefully balanced programme with one of the best brass performers of our time displaying both his amazing skill and wide range of musical expressions.
By  Kenneth Fung.
**
1. Variations Sur "Le Carnaval de Venise" 7.32
2. The Debutante (Caprice brillant) 5.49
3. Believe Me, If All Those Endearing Young Charms 3.26
4. Grand Russian Fantasia 6.19
5. Moto Perpetuo, Op. 11 4.31
6. 'Tis The Last Rose Of Summer
7. The Flight of the Bumblebee from Tsar Saltan 1.03
8. Napoli-Variations On A Neapolitan Song 5.43
9. Fantaisie Brillante 8.16
10. Sometimes I Feel Like A Motherless Child 3.20
11. Valse Brillante ("Sounds from the Hudson") 8.07
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Wynton MARSALIS - Think of One 1983

Wynton MARSALIS - Think of One 1983
Recorded at Mediasound, New York

Jazz

In his early years after leaving Art Blakey's Jazz Messengers, Wynton Marsalis strode forth with this excellent recording, his second as a leader, done in tandem with brother Branford, also out of Blakey's herd. The combination of the two siblings created quite a buzz in the music community, and this recording, which may stand the test of time as his finest, is one of the more solid mainstream jazz statements from the Young Lions movement of the early '80s. Top to bottom, this music sings, swings, simmers, and cooks with a cool verve that, in retrospect, would turn more overtly intellectual over time. A command of dynamics akin to those of Charles Mingus creates a signature sound, heard clearly in the opener, "Knozz-Moe-King," fueled by supercharged bop; the bold, extroverted, and precise trumpeting of the leader; and Kenny Kirkland's complementary piano comping. It could be the best single track of the entire recording career of Wynton. Ranking close behind is the tick-tock drumming of Jeff Watts, informing the pretty albeit dark musings of the brothers during "Fuchsia," and the sighing horns, samba bass of Phil Bowler, and stop-start modernities of an utterly original "The Bell Ringer." A bouncy treatment of the standard "My Ideal" shows Wynton's singing tone through his horn, a great interpretation of Thelonious Monk's "Think of One" is totally sly and slinky in low-register hues, and triplet phrases that have become a staple of the Marsalis musical identity accent "Later," adapted from a phrase similar to "Surrey with the Fringe on Top." At their unified best, Wynton and Branford shine on the tricky "What Is Happening Here (Now)?," a spillover residual of their time with Blakey. Think of One is a definitive statement for Wynton Marsalis, and though other efforts turned much more elaborate, none have been played better -- with more palpable spark and original ideas -- than this fine studio date.
bY Michael G. Nastos, All Music Guide.
**
Back in 1983, this youthful fellow came along and turned the jazz world on its collective ear with his virtuosity on the trumpet, his flair for dynamic, thoughtful compositions and his rejection of any sort of "commercialization" of his music. No fusion with electronics, rock, funk or dance music for Marsalis--just straight ahead jazz, with the classic Miles Davis groups of the 1960-66 period serving as a template and a take-off point. Brother Branford plays with the right balance of sweetness and force, and the rhythm section is tense and explosive. The late Kenny Kirkland's piano is beautiful--his style drawing from both Bill Evans and McCoy Tyner. Mainstream jazz does not get much better than this.
From CD Universe.
**
Hard to believe now, but 20 years ago most commercially successful jazz could either be classified under trendy funk (anyone remember Herbie Hancock's "Rockit"?), electronic noodlings aimed toward a mass audience (Weather Report, Return to Forever) or MOR/adult contemporary piffle (Spyro Gyra). Coincidentally, it was at that point that I reached back toward the pioneers of the `50s and '60s, Miles Davis, John Coltrane, and McCoy Tyner. Imagine my delight when a friend of mine told me of an artists who had the same influences and not only was he still recording, he was only in his early 20s!
Wynton Marsalis put himself on the map with this, his second album. From the atonal "Knozz-Moe-King" to the lament "Melancholia," Marsalis covers a wide range of styles, yet stays within himself. (Subsequent releases would frequently show even broader ambitions, but occasionally his reach would exceed his grasp.)
This album is the first one to pick up for those interested in hearing how jazz stepped back from the dead end of fusion back toward its roots.
By  Musings.
**
Wynton Marsalis- (Trumpet);
Branford Marsalis- (Saxophones);
Kenny Kirkland- (Piano);
Ray Drummond- (Bass);
Jeff Watts- (Drums).
**
01. Knozz-Moe-King 6:00
02. Fuchsia 6:25
03. My Ideal 6:17
04. What Is Happening Here (Now?) 4:02
05. Think Of One 5:29
06. The Bell Ringer 9:03
07. Later 4:08
08. Melancholia 2:49
**
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