Perhaps Marsalis is only a good trumpeter. I own one album that I don't listen since many years. I recall an enjoyable rendition of Stardust. But to me Stardust is pure poetry even if played by a local combo. I have often read not much positive judgments about your classical recordings. I don't like about him the fact that he seems to be built in a laboratory.
I actually own more Marsalis albums then I’m afraid to admit to. This said, like you, I don’t ever listen to him because I don’t really hear an interesting musical personality. I hear a technician who knows the scales, modes, etc. and all of the techniques that go along with being a jazz trumpeter. I’ve never listened to a Marsalis album and thought “Wow, that was incredible!” or “That was so beautiful. I must listen to that again.” These thoughts never cross my mind. Again, I believe he’s too ‘studied’ to be considered a jazz musician.
If many artists stated their personal opinions as often as WM they too would feel the wrath of listeners.
They probably give their opinions on a regular basis. They just don't get the mic and hype that WM (or BM) gets.
Does Wynton even DO that anymore, bash other musicians? I know he did when he was a youngster, a looong time ago. It's interesting to see how much vitriol and animosity is still felt towards him for things he basically said decades ago! Always felt it strange how such an accomplished musician seems to generate such an overall sense of apathy. IMO, his greatest achievement has been in music education.
NP: Charles Mingus –Pithecanthropus Erectus Alto Saxophone – Jackie McLean Bass – Charles Mingus Drums – Willie Jones Piano – Mal Waldron Tenor Saxophone – J.R. Monterose Recorded on January 30, 1956, at Audio-Video Studios, New York, N.Y.
Which is not saying much considering how serious he wanted to be taken as a jazz musician. He’s actually in need of a full jazz education that embraces all stylistic evolutions that happened and not just what he ‘likes’. Being a teacher can have a profound influence on students. If he’s giving them one side of the coin, he’s not doing his job, IMHO.
To be a great artist, you have to get out of your head, IMO. I would not call WM an intuitive musician, per se.
I have checked at home and about Wynton Marsalis I like his cooperation on Elvin Jones' Tribute to John Coltrane "A Love Supreme". In that context I appreciate him and the same one also for the awesome compilation: Various - Conrad Silvert Presents Jazz At The Opera House In this second case he is a sideman who plays with Herbie Hancock, Wayne Shorter, Charlie Haden, Bobby Hutcherson on four tunes, I believe. A good substitute of Freddie Hubbard.
NP: ...one of my favorite ensembles / albums The Horace Silver Quintet –Silver's Serenade Bass – Gene Taylor Drums – Roy Brooks Piano, Composed By – Horace Silver Tenor Saxophone – Junior Cook Trumpet – Blue Mitchell Recorded May 7 & 8, 1963 at the Van Gelder Studio, Englewood Cliffs, New Jersey
Here is an extendet tracklist from Discogs with the different groups. Great selected Box. Tracklist Liberty BelleBass – Bill AnthonyDrums – Frank IsolaPiano – John Williams (5)Written-By, Valve Trombone – Bob Brookmeyer 2:46 1-2 Have You Met Miss JonesBass – Bill AnthonyDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By – R. Rodgers-L. Hart* 3:32 1-3 Isn't It RomanticBass – Red MitchellDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By – R. Rodgers-L. Hart* 2:35 1-4 Traditional BluesBass – Bill AnthonyDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By – Traditional 2:34 1-5 Doe EyesDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By, Bass – Red Mitchell 3:17 1-6 Red DevilDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By, Bass – Red Mitchell 3:18 1-7 Body And SoulBass – Red MitchellDrums – Frank IsolaPiano – John Williams (5)Valve Trombone – Bob BrookmeyerWritten-By – Heyman*, Green*, Sour* 3:18 1-8 Last ChanceBass – Red MitchellDrums – Frank IsolaPiano – John Williams (5)Written-By, Valve Trombone – Bob Brookmeyer 2:47 1-9 ArrowheadBass – Bill CrowDrums – Osie JohnsonGuitar – Jimmy RaneyValve Trombone, Piano – Bob BrookmeyerWritten-By, Guitar – Jim Hall 6:58 1-10 Street StrangersBass – Bill CrowDrums – Osie JohnsonGuitar – Jim Hall, Jimmy RaneyWritten-By, Valve Trombone, Piano – Bob Brookmeyer 6:19 1-11 Hot Buttered NoodlingBass – Bill CrowDrums – Osie JohnsonGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By, Guitar – Jimmy Raney 6:02 1-12 Musicale Du JourBass – Bill CrowDrums – Osie JohnsonGuitar – Jim Hall, Jimmy RaneyWritten-By, Valve Trombone, Piano – Bob Brookmeyer 8:48 1-13 Raney DayBass – Bill CrowDrums – Osie JohnsonGuitar – Jimmy RaneyValve Trombone, Piano – Bob BrookmeyerWritten-By, Guitar – Jim Hall 5:24 1-14 JupiterBass – Bill CrowDrums – Osie JohnsonGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By, Guitar – Jimmy Raney 5:04 2-1 LouisianaBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – Razaf*, Schafer*, Johnson* 5:27 2-2 Santa Claus BluesBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – C. Straight*, G. Kahn* 5:43 2-3 Truckin'Bass – Ralph Pena*Clarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – R. Bloom*, T. Koehler* 7:27 2-4 Some Sweet DayBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – Olman*, Rose*, Jackson* 4:46 2-5 Sweet Like ThisBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – D. Nelson*, K. Oliver* 4:03 2-6 JadaBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – Bob Carlton* 3:48 2-7 Don't Be That WayBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – Goodman*, Sampson*, Parish* 4:59 2-8 Honeysuckle RoseBass – Ralph Pena*Clarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – A. Razaf*, F. Waller* 6:05 2-9 Brook's BluesBass – Ralph Pena*Clarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallWritten-By, Valve Trombone, Piano – Bob Brookmeyer 4:14 2-10 Slow FreightBass – Ralph Pena*Clarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallWritten-By, Valve Trombone, Piano – Bob Brookmeyer 8:49 2-11 The Sheik Of ArabyBass – Joe BenjaminClarinet, Tenor Saxophone, Baritone Saxophone – Jimmy GiuffreDrums – Dave BaileyGuitar – Jim HallValve Trombone, Piano – Bob BrookmeyerWritten-By – Wheeler*, Smith*, Snyder* 5:01 3-1 Jumpin' At The WoodsideBass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerWritten-By – Count Basie 7:59 3-2 A Blues (What's On Your Mind)Bass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerWritten-By, Vocals – Big Miller 5:05 3-3 Blue And SentimentalBass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerWritten-By – Basie*, Livingston*, David* 6:53 3-4 Doggin' AroundBass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerWritten-By – E. Battle*, H. Evans* 8:39 3-5 Moten SwingBass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerWritten-By – B. Moten*, B. Moten* 10:12 3-6 Trav'lin' LightBass – Addison FarmerDrums – Osie JohnsonGuitar – Jim HallPiano – Nat PierceTenor Saxophone – Al Cohn, Paul QuinichetteValve Trombone, Arranged By – Bob BrookmeyerVocals – Big MillerWritten-By – Mundy*, Mercer*, Young* 3:32 3-7 Stretching OutBass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone – Al CohnTrumpet – Harry Sweets Edison*Written-By, Valve Trombone, Arranged By – Bob Brookmeyer 6:07 3-8 Now Will You Be GoodBass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone – Al CohnTrumpet – Harry Sweets Edison*Valve Trombone, Arranged By – Bob BrookmeyerWritten-By – Terker*, Jentes*, Pease* 5:27 3-9 Pennies From HeavenBass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone, Arranged By – Al CohnTrumpet – Harry Sweets Edison*Valve Trombone – Bob BrookmeyerWritten-By – A. Johnston*, J. Burke* 6:15 3-10 King Porter StompBass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone – Al CohnTrumpet – Harry Sweets Edison*Valve Trombone, Arranged By – Bob BrookmeyerWritten-By – Morton*, Robin*, Burke* 4:38 3-11 Ain't Misbehavin'Bass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone – Al CohnTrumpet – Harry Sweets Edison*Valve Trombone, Arranged By – Bob BrookmeyerWritten-By – Razaf*, Waller*, Brooks* 6:54 3-12 Bee KayBass – Eddie JonesDrums – Charlie PersipGuitar – Freddie GreenPiano – Hank JonesTenor Saxophone – Zoot SimsTenor Saxophone, Baritone Saxophone – Al CohnTrumpet – Harry Sweets Edison*Valve Trombone – Bob BrookmeyerWritten-By, Arranged By – Bill Potts
I actually like a number of Wynton Marsalis albums. But then I'm different. Right now "Miles 1958" one more time. I really love this music.
Thanks. I'll take a look at it. But actually right now I'm more focused on cataloguing CD's than building and expanding my collection. No new orders for me right now (some earlier orders are still on the way to me). I've set some rules for myself - 100 new entries in the database and only then I can order new stuff. At the moment it's 62 entries to reach this target.
I`ve listened again to Black Codes (from the underground) yesterday and loved the music and the overall performance very much. I hate the sound of those 80`s recordings with a lot of echo and reverb but that`s just me…… I`m not a huge fan but I enjoy the albums I have.
Haven't listened to Black Codes in over 30 years but I remember liking it. I was so busy getting into so many other current artists and all of the older greats that I never bought another Wynton album.
????????? Jazz Quiz ????????? To which jazz player are they dancing to? ????????? Jazz Quiz ?????????
Herbie! But on a Dolphin related tip, my first thought was of Stan Getz's album The Dolphin... fans of Getz that haven't heard it should check it out!
I think Black Codes is a classic. But I do agree with the criticism that like a lot of early Marsalis it pretty heavily warms over a lot of Miles '60s quartet sounds and ideas. (And personally I find Jeff Watts a drummer who is not at all to my taste.) It's unfortunate for Marsalis' music that he fell in full force with Albert Murray and Stanley Crouch and the neo-conservative intellectual war against jazz impurity. It did wonders for his career, but it meant that many folks -- myself included -- struggle to hear his music for whatever merits it has (his great tone, his incredibly rigorous sense of line). I'm not big on neo-conservatism and neo-classicism and retro appeal to old verities, so I might not have ever fallen in love with the music anyway, but when it came along with the neo-con polemics, it just kind of became a turn-off (as bad as Murray was, and as smart alecky as Marsalis sometimes came off, the worst was Crouch -- hath no crab more crabby than an avant gardist turned neo-con). Later, it seems, like Marsalis' neo-classicist urge drove him farther and farther backwards in time. He'd wed these ambitious projects to some of the quaintest, most old-fashioned gestures. But I would say that in doing so he did come up with a distinctive voice and artistic identity, like it or not.