Record Reviews

AHMAD JAMAL ~ BLUE MOON JAZZ VILLAGE 57001 (Barcode: 3149027000123) ~ USA ~ Jazz Recorded: 2011 Released: 2012 American pianist / composer Ahmad JamalFind albums by this artist seems to be completely immune to passing time and his career continues to flourish at the age of 82, a remarkable achievement by any standard. Of course one would never in their lives guess this album was recorded by a man of such advanced age, as his technique, flair and above all percussive approach to the instrument (which has always been his trademark) seem to be better than ever. He also contributes three new compositions with the rest being standards, but his innovative and imaginative interpretations change them almost beyond recognition. He is accompanied here by brilliant musicians: bassist Reginald VealFind albums by this artist, drummer Herlin RileyFind albums by this artist and percussionist Manolo BadrenaFind albums by this artist, all much younger than the Master, which of course does not interfere with the perfect interplay between them. Listening to this music has a strangely uplifting effect, especially to someone like myself, for whom Jamal´s music was always there as part of the soundtrack of his life. Perhaps this music is the elixir of life that keeps us going? Not to be missed, so forget the lame excuses and grab this!

CD 1 Digipak Recommend To A Friend

WYNTON MARSALIS ~ BLUE INTERLUDE WOUNDED BIRD 8729 (Barcode: 664140872929) ~ USA ~ Jazz Recorded: 1992 Released: 2007 This album finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a septet, his ultimate vehicle of choice after fronting smaller combos in the first decade of his career. The septet comprised of musicians, who played in his earlier groups with the addition of trombonist Wycliffe GordonFind albums by this artist, and included saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The fact that Marsalis´ ensembles expanded from quartet to septet was consistent with other changes in his musical path where a bigger ensemble became necessary as a tool to enable performing an ever increasingly complex and broad scope of his compositions and sophisticated arrangements. But this album also marks another dramatic change with Marsalis abandoning the idea of writing separate "songs" or "tunes" and moving into creating expanded suites in which the separate parts would be combined into a thematic whole. "Blue InterludeFind albums with this title" was the first of such extended works, comprised of many melodies, moods and rhythmic patterns, glued together by an underlying central musical concept and idea. The music is absolutely stunning and the romantic theme of the work, as it is about love after all, shows the gentle and often humorous side of Marsalis. Stylistically the music is based on the entire heritage of "classic" jazz, from its New Orleans roots and up to the almost symphonic complexity of Duke EllingtonFind albums by this artist´s Jazz suites. Marsalis´ handling of the trumpet is breathtaking, but all his cohorts are first class musicians and their individual contributions are excellent throughout. This is a small masterpiece in every aspect and an immensely pleasant listening experience from start to finish. No serious Jazz collection can be complete without this gem being included!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ CITI MOVEMENT WOUNDED BIRD 3324 (Barcode: 664140332423) ~ USA ~ Jazz Recorded: 1993 Released: 2008 This breathtakingly beautiful album is not only one of best works to date by trumpeter / composer Wynton MarsalisFind albums by this artist, but also one of the best Jazz recordings of the 1990s and a masterpiece of the genre. Performed by the Marsalis septet, which included trombonist Wycliffe GordonFind albums by this artist, saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Eric ReedFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist, this immensely complex body of music was composed as the score for the ballet "Griot New York". The double album includes three musical suites, each of these split into several subsections. In many respects this recording is a culmination of the Marsalis´ career up to that moment as a player, bandleader and most of all as a composer and arranger. The music encompasses a wide stylistic range, covering all subgenres of classic Jazz, from New Orleans, Swing, Bebop and Hard Bop, Modal music and even traces of 1960s Avant-Garde. Well over two hours long, the album includes a myriad of themes and melodies, flowing over ever changing rhythmic patterns and expressing different moods. The orchestration allows for dynamic fluctuations, whereas some fragments are performed by solo piano and others feature the full power of the ensemble with the horns screaming at full blast. Although there are plenty of inspired solos, the music is obviously intended to be in the centre of the listener´s attention, rather than the abilities of the individual performers. With this album Marsalis achieved finally the status of a brilliant composer, which complimented his virtuosic ability as a player, proving beyond a shadow of a doubt that he is much more than a "pretty face" hyped by his label´s PR machine. This album is way more than just a platter with some music on it – it is a sublime lesson in Jazz history and essence, proving the genre´s noble status as intelligent and highly creative Art Form. In times when music is being whored and presented as a worthless mass product for imbeciles, this gem serves as a beacon showing the path for true music. Absolutely essential!

Updated: 12/04/2019Posted:

CD 2 Essential Recommend To A Friend

WYNTON MARSALIS ~ LEVEE LOW MOAN: SOUL GESTURES IN SOUTHERN BLUE VOL. 3 WOUNDED BIRD 7975 (Barcode: 664140797529) ~ USA ~ Jazz Recorded: 1991 Released: 2008 This is the third part of the album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", which finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a sextet comprised of his regular band members: saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. Williams contributes one composition with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, and for me is the strongest of the three volumes perhaps due to the wonderfully crafted arrangements. Marsalis´ compositions, now clearly showing his love and respect for Duke EllingtonFind albums by this artist, are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" and "disappointing" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don´t get it, which is fine by me, as long as their limitations don´t influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy and in my opinion this one is a must, so forget the critics and just listen!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ THE MAJESTY OF THE BLUES WOUNDED BIRD 5091 (Barcode: 664140509122) ~ USA ~ Jazz Recorded: 1989 Released: 2007 Following the initial period of intense search of his own musical identity, which lasted for about five years, trumpeter / composer Wynton MarsalisFind albums by this artist switched gears into the next phase of his illustrious career. The metamorphosis was slow and gradual, but the direction and the ultimate goal were pretty clear from the very early stages. Marsalis decided to treat his relationship with music not as a profession, where the most important facet of a musician is his skill and power of expression (or improvisational ability in Jazz), but rather as an almost messianic quest to turn music into a total art form, emphasizing its historical, philosophical, aesthetical, social and even political aspects. His albums, and often album cycles, would be much more that a series of sounds captured for posterity in a recording studio – they would become conceptual messages, in which the music would be just one layer of the total memorandum he wanted to communicate and get across, in order to educate, influence and often even preach. It didn´t take long for the music critics and later on Jazz audiences as well to start giving Marsalis a "funny" look, and later on commence a direct assault of disapproval and personal harassment. Prophets and visionaries have always suffered from public displeasure since the early days of human history, a phenomenon repeating itself time after time. This superb album is the first significant example of the "new" Marsalis. Completely emancipated from the Miles Davis complex, which haunted him from day one, he changed his relationship with the music and his instrument. From now on he was about to immerse into the roots of Jazz and present the history of the music, revitalized and interpreted his way, and where to find a better starting point than the Blues. Taking a trip back to his roots and origins, Marsalis creates a tribute to New Orleans, the cradle of Jazz. In order to express his musical ideas he realizes that he needs a larger ensemble to express his new musical vistas and therefore the quartet he used up to this point is expanded to a sextet (on this album) and soon after into a septet (a classic Jazz lineup), which would be his main vehicle for many years subsequently. The sextet includes Marsalis, saxophonists Todd WilliamsFind albums by this artist and Wes AndersonFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The album presents two separate music cycles: the first a recording by the sextet, playing music written by Marsalis, which is a modern version of early New Orleans Jazz, the second, called "The New Orleans Function" is performed by a sextet comprising of Marsalis and five veteran New Orleans musicians, again performing music written by him. The most unusual piece of the album is a lengthy sermon, delivered passionately over a musical background, lamenting the fate of the Blues in modern times (and clearly easily applicable to Jazz in general, or even all music or all culture). The sermon was written by journalist Stanley CrouchFind albums by this artist, who was a heated Marsalis supporter from day one and part of ColumbiaFind albums on this label´s PR machine promoting Marsalis to the status of a superstar. His somewhat "overheated" (read pompous) style turned out to be one of the factors, which led to the public "mutiny" against Marsalis´ domination of the Jazz scene. But disregarding the above, the sermon, obviously expressing Marsalis´ views at the time, is completely in par with the concept of this album and plays a vital role in expressing the ideology behind it. The entire strength and superb quality of the album is remarkable and a true work of art. The New Orleans Jazz is revitalized and presented in its full glory, placing this exquisite music back on the center stage after being almost completely forgotten and abandoned, except for a miniscule community of musicians and fans. Marsalis´ ability to love, understand and convey the roots of Jazz is a rare gift, and the Jazz fans from this album on will be exposed to more of the forgotten Jazz treasures thanks to his consistent effort to uncover them. Brilliant piece of music and an essential listening experience!

CD 1 Essential Recommend To A Friend

WYNTON MARSALIS ~ TUNE IN TOMORROW… (SOUNDTRACK) WOUNDED BIRD 7044 (Barcode: 664140704428) ~ USA ~ Jazz Recorded: 1990 Released: 2008 Writing a score for a Hollywood movie was another bold step for trumpeter / composer Wynton MarsalisFind albums by this artist, a part of the process of expanding his milieu and establishing his career as a total musician / composer and now also arranger for a larger ensemble. The music, which is a set of 16 relative short pieces, constitutes a suite, which is coherent and makes sense as a piece of music meant to be listened to separately from the movie, something a very few soundtracks ever achieve. Stylistically it is mostly Blues based, paying a tribute to Duke EllingtonFind albums by this artist orchestrations and compositional approach. The arrangements are clever and sophisticated enough to make the entire content flow without a moment of tediousness. The album also marks the first appearance of the new Marsalis Septet, which includes Marsalis, trombonist Wycliffe GordonFind albums by this artist, saxophonists Wes AndersonFind albums by this artist and Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. The expanded list of the participants in the recording 16 musicians, including two vocalists: Johnny AdamsFind albums by this artist and Shirley HornFind albums by this artist. The overall atmosphere of the album takes the listener deep into the 1930s, when Jazz was the popular music of the time, played in clubs and dancehalls. Mind you, this is not some kind of "retro" effort, but a conscious and deliberate artistic choice. If Marsalis meant to bring back the glory of that music back and expose it to contemporary listeners, he did extremely well. This is a most enjoyable album, which should bring on a smile of satisfaction, a job well done and a memorable experience. Recommended!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ UPTOWN RULER: SOUL GESTURES IN SOUTHERN BLUE VOL. 2 WOUNDED BIRD 7976 (Barcode: 664140797628) ~ USA ~ Jazz Recorded: 1991 Released: 2008 This is the second part of the album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", which finds trumpeter / composer Wynton MarsalisFind albums by this artist leading a quintet comprised of his regular band members saxophonist Todd WilliamsFind albums by this artist, pianist Marcus RobertsFind albums by this artist, bassist Reginald VealFind albums by this artist and drummer Herlin RileyFind albums by this artist. Roberts and Williams also contribute one composition each with the rest of the music being written by Marsalis. As expected, the music is a further exploration of the influence of the Blues on Jazz, this time being mostly low key as opposed to its predecessor. The beautiful melody lines are explored in depth by relaxed, but highly inspired soloing. Marsalis´ compositions are beautifully balanced and serve as ideal vehicles for the quintet to express their individual skills both as soloists and ensemble players. His beautiful tone and obvious virtuosity can be heard here in depth and enjoyed to the fullest. Although some critics have described this album as "forgettable" (to quote the less offensive epitaphs) it is quite brilliant from start to finish and a highly enjoyable music experience for any true Jazz enthusiast. Some people just don´t get it, which is fine by me, as long as their limitations don´t influence others too often. This album is definitely worth exploring, as are its two companions in the trilogy so forget the critics and just listen!

CD 1 Recommend To A Friend

WYNTON MARSALIS / LINCOLN CENTER JAZZ ORCHESTRA ~ CAST OF CATS NOT ON LABEL ~ USA ~ Jazz Recorded: 2003 Released: 2003 As much as I hate malls, outlets and the "shopping experience" in general, which often becomes an integral part of any touristic venture, especially in the US of A, I must admit that this album fell into my lap while visiting an outlet. Imagine my surprise when I saw a Wynton MarsalisFind albums by this artist album, of the existence of which I was completely unaware, being sold in a posh men clothing store called Brooks Brothers. Even more surprising was the fact that this album was recorded for and released exclusively by Brooks Brothers. It took me about a couple of seconds to realize I had a hot potato in my hand and to buy the entire stock (all 4 CDs). The album´s insert includes the following sentence: "Brooks Brothers is proud to be a major sponsor of Jazz at Lincoln Center and the exclusive clothier of the Lincoln Center Jazz Orchestra with Artistic Director Wynton Marsalis. The LCJO and Mr. Marsalis perform throughout the world wearing Brooks Brothers clothing… bringing two great American classics together." Only in America! The above, although having absolutely nothing to do with Wynton´s music, illustrates why he is such a controversial public figure, with supporters and opponents fighting bitterly and openly in the media since many years. I must admit I find his taste in garments to be elegant and classy ;) The album includes thirteen original compositions by Wynton, all of which are performed in a quartet (or trio on tracks 5 & 10) setting, each with a different soloist, accompanied by the rhythm session comprising of pianist Bill CharlapFind albums by this artist, bassist Carlos HenriquezFind albums by this artist and drummer Herlin RileyFind albums by this artist. Wynton performs only on the opening track of the album, the rest of the soloist being members of the Lincoln Center Jazz Orchestra. The performances are all quite excellent of course, as these are some of the best Jazz players around, handpicked and trained by Wynton. The compositions are quite charming, all kept well within the early Jazz tradition, which Wynton admires and considers as the only "true" Jazz around. They do sound remarkably like Jazz standards, but of course they aren´t. Wynton´s incredible talent as a composer needs no further promotion, as his remarkable output speaks for itself for years. Overall this is simply a great, beautifully played and recorded classic Jazz album, which is good enough for any true Jazz lover (even one that dislikes Wynton and anything he stands for) to embrace. As for Wynton and his tactics – I really don´t give a damn is hi signs a pact with Brook Brothers or the devil, as long as he keeps making the fantastic music he always did and keeps Jazz alive and kicking, which is more than I can say about his adversaries. I really hope you can get a copy of this album, although when I checked upon my return home, it now costs about as much as any piece of clothing sold at Brooks Brothers. Lucky me!

CD 1 Recommend To A Friend