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.