Feeds:
Posts
Comments

Posts Tagged ‘Wynton Marsalis’

 (Above: Branford Marsalis solos and shows off his new drummer, Justin Faulkner, at a 2009 concert.)

By Joel Francis
The Daily Record

Saturday’s Branford Marsalis concert at the Gem Theater was a night of new beginnings.

The show kicked off the 2010-2011 season of Jammin’ at the Gem and featured new bass player Robert Hurst – this was only his second gig with the quartet in as many nights. It even opened with a new song.

That number, tentatively titled “Joey’s Tune” after its composer, pianist Joey Calderazzo, was a bit of an outlier. Admittedly a work in progress, the arrangement was busy to the point of claustrophobia. When Marsalis stepped back, Calderazzo and drummer Justin Faulkner flooded the room so completely one wondered if Marsalis would be able to wedge his way back in the song.

Fortunately, the rest of the two-hour set fared better. Alternating between soprano and tenor saxophones, Marsalis guided the band through breakneck changes and lumbering mood pieces. Some of his solos displayed the pop sensibilities that made him the go-to hornsmith for Sting and Bruce Hornsby, yet his playing was always challenging, never resting too lightly on the ears.

If the set had one blemish it was that Marsalis seemed too content to introduce a number with a solo, then step away for the rest of the number to let his trio play. Aside from being the best player onstage, Marsalis’ horn was the catalyst that helped the rest of the sounds to coalesce.

“The Blossom of Parting,” a track from Marsalis’ 2009 album “Metamorphosen” was the high point of night. The song opened softly with Marsalis on soprano sax, and Faulkner switching between brushes and mallets to build new textures. Calderazzo’s mesmerizing solo blurred the lines between jazz and classical music, and showed more than a hint of Brad Mehldau’s plaintive style. When the band re-entered, Marsalis gradually built the song’s intensity. Before the song could climax, however, an over-exuberant Faulkner accidentally knocked his ride cymbal to the floor. It wasn’t the ending Marsalis hoped for, but the audience took in stride and responded with a standing ovation.

Faulkner had no problem filling the drum stool occupied by Marsalis’ longtime beatman Jeff “Tain” Watts. On a cover of Thelonious Monk’s “Teo,” Faulkner traded bars with Marsalis with a maturity that outpaced his age of 19 and an energy that underlined it. His solo during a later song recalled another drummer of Marsalis’ acquaintance, Art Blakey.

Hurst also handled himself well, despite sight-reading all of the material. His lengthy solo would have worked better tied to a song than as a stand-alone piece. Aside from that moment, Hurst drew little attention to himself – a positive attribute for now in these new surroundings.

The evening ended with an encore of “St. Louis Blues” that found Marsalis showing off his New Orleans roots and reeling off some Satchmo-like trumpet licks on his saxophone.

Keep reading:

Clark Terry’s Last Stand

Releasing Jazz from Aspic

Review: Oleta Adams

Buck O’Neil: Sweet Times and Sweet Sounds at 18th and Vine

Advertisements

Read Full Post »

(Above: Ornette Coleman jams with the Roots. Improbably, people respond positively to the non-traditional collaboration.)

By Joel Francis

In 1958, Danny and the Juniors sang “Rock and Roll is Here to Stay.” Although the genre was only seven years removed from the its birth on the “Rocket 88” single and three years from its explosion into the mainstream with Elvis Presley, Danny White was right. Sixty years later, it is hard to imagine American culture without rock and roll.

It is also hard to imagine what the malt-shop teens and leather jacket hoods of the Eisenhower administration would have thought about auto-tune, power pop and nu-metal. Although the seeds of today’s rock were planted in the 1950s, the resulting flora has blossomed into hybrids that bear little resemblance to the original crop.

Picture how different today’s musical landscape would be if anything that varied from the pre-British Invasion strains of rock and roll were bastardized. If songs bearing the touch of John Lennon and Paul McCartney or Mick Jagger and Keith Richards were decried as impure for straying from the “true” roots of Chuck Berry and Buddy Holly.  Or if anything after the summer of punk and the rise of synthesizers was kept at arm’s length and segregated from the great Rock Cannon.

Would we expect our children to dig out old Bill Haley and Beach Boys albums if this were the case? Teach them “Fun Fun Fun” and “Maybelline” as historical exercises? Of course not. They would shrug, pay us lip service and invent their own confounding strain of music. The ties to existing music would be obvious – nothing emerges in a vacuum – but nothing we couldn’t dismiss as the impure follies of youth.

Why, then, do we place the same parameters around jazz and feign surprise with then inevitable occurs?

It seems every year a new study comes out showing the median age of jazz listeners climbs while attendance drops. The latest is a National Endowment for the Arts Survey of Public Participation in the Arts conducted through the U.S. Census Bureau. Predictably, the self-appointed Guardians of Jazz like Wall Street Journal columnist and former Kansas City resident Terry Teachout are freaking out. But all this hand-wringing is like an ordinary bicycle enthusiast fretting while the chain-driven model populates the streets. The vehicle is still very much alive, it’s just been modified and influenced by culture.

Too many jazz museums and concert curators suffer from WWWS: What would Wynton say. Would Wynton Marsails, the genre’s most prominent performer and steadfast caretaker, approve of their exhibit or event? While Marsalis is a talent trumpet player who deserves every bit of his fame and credit for bringing jazz to the masses, he is conservative and traditionalist to a fault. Museum directors and concert promoters should be following their own muse and vision, not looking to someone as restrictive as Marsalis for tacit endorsement.

The growth of jazz from Dixieland to big band to bebop is celebrated, but somewhere along the line – about 1965, shortly before John Coltrane’s death, when free jazz and fusion started to creep into the mix – a line was drawn. In shorthand, acoustic Herbie Hancock playing with Miles Davis and recording for Blue Note is “good” jazz; synthesizer-rocking Hancock’s best-selling “Head Hunters,” though, is “bad.”

If directors and promoters must get the thumbs-up from a Marsalis, could it please be Branford? Although a lesser celebrity, the tenor saxophone player and older brother of Wynton has equally distinguished jazz pedigree. He’s also allowed jazz to grow, branching into pop with Sting, serving as musical director for the Tonight Show and working with hip hop artists.

If the stodgy stylistic caretakers turned up their noses when jazz artists, the highest pedigree of musicians, started dabbling in rock and funk, they have completely ignored most jazz performers slumming with rappers in a genre oft-maligned for possessing the lowest level of musicianship.

The elitists are missing the point. At their best, jazz and hip hop are better together than chocolate and peanut better. The improvisational aspect of jazz fits the free-flowing poetry delivered by a great MC. The swing of the instruments matches the swagger of the beats. Dig the way DJ Logic’s turntable work complements Medeski, Martin and Wood’s “Combustication” album, how Mos Def and Q-Tip’s rhymes soar over Ron Carter’s live basslines, or how Roy Hargrove’s trumpet pushes and accentuates Common’s poetry.

Teachout and Wynton Marsalis’ simplified stances ignore the long history of jazz in popular culture. The enduring standard “Someday My Prince Will Come,” was plucked from Disney’s “Snow White and the Seven Dwarfs.” Although both Dave Brubeck and Louis Armstrong released albums of Disney material, it is doubtful Wynton Marsalis would record a song from a children’s cartoon.

The Chicken Little jazz forecasts don’t show that jazz is less popular or interesting today. The news they bring is even more disturbing: hard evidence that the standard-bearers of the genre are increasing ignorant to how their beloved music has grown, changed and been embraced. They’re the ones missing the party, but don’t worry – their numbers are dwindling.

(Below: More Ornette Coleman with the Roots for all the alarmists. Note how well the musicians play together despite being from the disparate worlds of jazz and hip hop. Surely this is a sign of the apocalypse.)

Read Full Post »

(Above: Savion Glover does his thing with plenty o’ swing.)

By Joel Francis

Continuing The Daily Record’s look at the state of jazz today, here is the final of three installments shedding light on 15 jazz greats to emerge in the last 20 years. Note that these musicians are not necessarily the 15 greatest jazz artists to arrive since 1990. A brief listen to any of them, though, should more than persuade the most ardent purist that jazz is alive and well.

Eldar Djangirov

Eldar Djangirov is the continuation of the great line of pianists to emerge from Kansas City, Mo. that stretches back to Count Basie and Jay McShann. The three have more than an adopted hometown in common, though. Although none were born in Kansas City, all experienced significant musical growth while living there. Unlike Basie and McShann, though, Eldar’s formation started before puberty. He performed at a Russian jazz festival at age 5 and at age 12 became the youngest guest ever on Marian McPartlan’s Piano Jazz radio show. Though his latest album is straight-up smooth jazz, Eldar’s earlier work has a breadth that recalls everyone from Ahmad Jamal to Art Tatum. Albums to start with: Eldar, Live at the Blue Note

Christian McBride

Bass player Christian McBride was mentored and hailed by no less an authority than Ray Brown before starting off on his own. McBride works comfortably in the traditional vein on his early albums like “Fingerpainting,” the excellent tribute to Herbie Hancock performed in a bass/guitar/trumpet setting. He gets more funky and touches on fusion with his three-disc live set recorded at Tonic and studio albums “Sci-Fi” and “Vertical Vision.” In 2003, McBride collaborated with hip hop drummer Ahmir “?uestlove” Thompson of the Roots and keyboardist Uri Caine for a spectacular collaboration known as the Philadelphia Experiment. McBride has also worked extensively with Sting and Pat Metheny. Albums to start with: Fingerpainting, The Philadelphia Experiment.

Joshua Redman

Expectations have been high for Joshua Redman since winning the Thelonious Monk International Jazz Saxophone Competition in 1991. While Redman hasn’t fulfilled those unrealistic expectations by taking his instrument to the heights achieved by Sonny Rollins and John Coltrane, he has built a strong career on his own terms. Redman’s early quintets helped launch the careers of Christian McBride and Brad Mehldau and his work as musical director of the San Francisco Jazz Collective paired him with legends like Bobby Hutcherson and new artists like Miguel Zenon. Redman’s catalog is adventurous enough to include covers of Eric Clapton’s “Tears in Heaven” with guitarist Pat Metheny and funky experiments that recall Eddie Harris. Albums to start with: Spirit of the Moment, Back East.

Savion Glover

Jazz tap may have died with the golden age of big-budget Hollywood musicals, but Savion Glover is trying his best to bring it back. He has appeared in televised concerts with Wynton Marsalis’ Jazz at the Lincoln Center Orchestra, collaborated with poet Reg E. Gaines and saxophone player Matana Roberts for the John Coltrane-inspired improve “If Trane Was Here,” appeared in Spike Lee’s “Bamboozled” and was a cast member of “Sesame Street.” Glover hasn’t recorded any albums, but his live performances are a potent reminder that jazz isn’t the exclusive province of those with a horn or a voice.

Bad Plus

Combining rock and jazz is nothing new, but the piano/drums/bass trio Bad Plus have done it in an acoustic setting that resembles Medeski, Martin and Wood more than Weather Report. Their early albums were filled with original material that split the difference between Oscar Peterson and Ben Folds, tempered by occasional arrangements of Pixies and Black Sabbath classics. Unfortunately, recent releases have steered sharply away from new compositions and saturated the increasing covers with more irony. While the concept of their newest album – all covers with a female vocalist – makes one wary, their early material should not be overlooked. Albums to start with: Give, Suspicious Activity.

Keep Reading 15 Jazz Greats to Emerge in the Last 20 Years

Part One

Part Two

Five Legends Still Adding to Their Legacies

Read Full Post »

raphael_saadiq_-_the_way_i_see_it

By Joel Francis

Raphael Saadiq – The Way I See It
Classic soul throwback.
Avoids tribute clichés by
keeping spirit true.

TV on the Radio – Dear Science
Great band gets better.
Bowie-meets-doo-wop epics.
Tunes for brain and feet.

Wynton Marsalis and Willie Nelson – Two Men with the Blues
Disparate worlds?
Not so fast. Legends say no.
Smiles all around.

David Byrne/Brian Eno – Everything That Happens…
Restless souls rejoin.
Straight-ahead compared to last album
Twenty-three years ago.

Randy Newman – Harps and Angels
Not Pixar film score.
Track 4 tears Dub-ya new one.
Mark Twain of music.

Justin Townes Earle – The Good Life
Old country played right.
More Hank Williams than Junior.
Dad Steve should be proud.

Erykah Badu – New Amerykah, Pt. 1
Esoteric beats
and furious politics
make for dark album.

Portishead – Third
More dark atmospheres,
Dormant band surprises all;
Not trip-hop retread.

She and Him – Vol. 1
Vanity project?
Hell no. Zooey is for real.
M. Ward is great foil.

Q-Tip – The Renaissance
Ten years not Tip’s fault,
stupid labels shelve three tries.
Glad to have you back.

Read Full Post »