Marsalis' lyrical sidemen charm while he takes an awkward tack

[Peterdubya]

Marsalis' lyrical sidemen charm while he takes an awkward tack

April 18, 2005

BY JOHN LITWEILER

Flamboyant trumpeter Wynton Marsalis brought his sextet to Symphony Center on Friday night, and the concert they played was as disturbing as it was unsatisfying. Was it a jazz concert? Or was it an educational-video version of what a jazz concert should sound like?

The most popular jazz artist of the last two decades, Marsalis has introduced many listeners to the art form; for many more, Marsalis and his revivalist successors are virtually the only jazz they ever hear. He's famous for favoring pre-1960 jazz traditions and opposing most subsequent innovations. What he played on Friday, though, was neither innovative nor traditional.

There was a lot of music to enjoy, for he surrounded himself with bright young talents. Pianist Aaron Goldberg sparkled, nowhere more so than in the opening blues, wherein he nagged a small motif until it broke loose into a long, flowing line, a delightfully conceived solo. On tenor sax, Walter Blanding Jr., a complex artist like the young Benny Golson, tried to shape strains of arpeggios into self-contained blocks and to build these blocks into complete solos. The most lyrical of these players was, of all things, the bassist, Carlos Henriquez, who created solos of both dark beauty and striking urgency. There were ensemble passages in which the driving interplay of Henriquez and drummer Ali Jackson was truly exciting. It was these four, not Marsalis, who made the best argument for reviving the bop tradition.

Too bad that so much of their playing was constrained to fit Marsalis' fussy routines. He composed tuneless tunes built on cleverly displaced accents, and usually limited Jackson to playing patterns. Several songs were two-beat ditties, and in fact, "Alabama Bound" was annoying. This wasn't Jelly Roll Morton's "Alabamy Bound," but rather a pseudo-Dixieland blues with a vocal by 19-year-old Jennifer Sanon. The ricky-tick "oom" from the bass and "pah" from the drums were Marsalis' way of mocking what was actually a highly refined early jazz idiom.

As for his trumpeting, what went wrong was not how, but what he played. Little of it was melodic, and he shaped solos awkwardly, for he cared about presenting effects rather than developing ideas. He lingered over solo elements just a mite too long, as if a neon sign was flashing "bent note," "behind-the-beat phrase," "flaring high note." Here, he portrayed Miles Davis, with a tight mute, grace notes and several bars of open space. There, he became Lester Bowie, with inflected tones and a long, high, wavering note. In other songs he portrayed a swing stylist in order to demonstrate his prowess with wa-wa mutes. "Cherokee" was strictly a display of his chops and stamina, a long string of many tiny trumpet notes at a racetrack tempo.

Instead of telling his own story, then, Marsalis played roles and tried to teach the history of the bop-era jazz trumpet. I wish the music had had more opportunity to open up and swing. I hope Sanon, who offered a lovely, pearly voice and effortless swing in "Comes Love," abandons the mannerisms of her other vocals. I wish Blanding, Goldberg and Henriquez had more opportunity to stretch out, the better to reveal themselves. And I wonder who is the real Wynton Marsalis -- is he one of the roles he played on Friday, or is he someone else entirely?

John Litweiler is a Chicago jazz critic and author.

[Mike Schwartz]

And so it goes...

I got the funniest note from jazzymary today!

I sent her the WM/JALC "Love Supreme" CD which I did not like a couple of months ago...she found it under a pile[having listened to it] and asked if I wanted it back;-))))

[JamesH]

I think Wynton's music has lot's of faces. If you're familiar with his discography chances are good you'll like or love some his music and be bored by or absolutely hate other things he does. But very few critics characterize him that way. They focus on the ego-over-the-top messes or his retro New Orleans recordings. They don't focus on his very good recordings which were one of the stronger driving forces for 80's/90's jazz.

I think a lot of non Wynton haters who know his music will say there is a fairly large amount of very good recordings he's made over the years. The bad one's I simply return. And I never found it necessary to demonize or ridicule the man for his failures. They really have no impact on me.

But then I'm not jealous or angry.

[Rob Damen]

Well, here we go again:

Here's another review of the same concert:

Clearly, the two were at the same show, but the difference in reviews makes one think otherwise.

Marsalis' young players bask in the spotlight

By Howard Reich
Tribune arts critic
Published April 18, 2005


It may be a bit early to place Wynton Marsalis firmly in the same role as drummer Art Blakey, whose Jazz Messengers band helped launch the careers of many great young artists (including Marsalis himself).

But Marsalis has cast a spotlight on so many emerging players simply by hiring or otherwise featuring them that he virtually has picked up where Blakey left off. Were it not for Marsalis, after all, the work of pianist Marcus Roberts, trumpeter Nicholas Payton and saxophonist Wessell Anderson, among many others, might not be as prominent as it is today.

The young band that Marsalis brought to Orchestra Hall over the weekend underscored the trumpeter's passion for finding and nurturing new artists. Apart from longtime Marsalis collaborator Walter Blanding Jr. on saxophone, Marsalis' quintet was staffed by players of a younger generation. And by featuring the 19-year-old vocalist Jennifer Sanon, a bona fide discovery, Marsalis reminded a capacity audience that jazz constantly replenishes itself with waves of inspiring new talent.

Because Marsalis' small groups rarely feature a singer, Friday night's performance by Sanon was noteworthy. From the outset, she disarmed her audience with a buoyant personality and an uncommonly supple instrument, the singer as evocative in vintage ballads as she was searing in traditional blues.

Bringing a gauzy tone and utterly unpretentious manner to the standard "Comes Love," Sanon recalled the work of the young Ella Fitzgerald in the days of "A-Tisket, A-Tasket." Fitzgerald in the late 1930s hadn't yet developed her hyper-virtuoso scat technique, and Sanon, too, has a great deal of work ahead of her along these lines. But Sanon's gorgeous, slightly grainy tone color and wide-open way with a phrase proved a feast for the ear.

Her breakthrough moment came in "Alabama Bound," a down-home country blues that Sanon dispatched as if she were performing in a Southern roadhouse. Crying out her phrases with clarion force, fleshing out the tune with shouts and wails and sighs, she conveyed an emotional maturity one does not typically encounter in singers so young.

Marsalis' current band sounds unlike his earlier small groups, in that its work is lighter and more translucent than, say, the deep-blue shadings of his septet. The current setting casts Marsalis' trumpet in an intriguing light, enabling him to play softer, faster and more delicately than listeners may have come to expect from him.

So even though Marsalis produced all kinds of blues-based whinnying and whooping on his "Free to Be" (from "The Magic Hour" CD), the rest of the band played so discreetly that the music-making came closer to a whisper than a roar. On his sublime jazz waltz "Sophie Rose-Rosalee," Marsalis used a Harmon mute to produce an extraordinarily refined, quicksilver timbre. And few trumpeters have tested themselves on the venerable "Cherokee" as rigorously as Marsalis did, taking an outrageously fast tempo yet articulating every fleeting note.

With bassist Carlos Henriquez bringing Afro-Latin soul to his solos, Aaron Goldberg offering a classical touch on piano, Ali Jackson excelling in New Orleans street beats on drums and saxophonist Blanding standing toe-to-toe with Marsalis on the front line, this quintet blew in like a warm Caribbean breeze.

[RainyDay]

Sweet, Jesus, here we go. Peter, are you insane?!

[crawjo]

I didn't like the Litweiler piece. Having not heard the concert I can't comment on it, but his criticism of Marsalis seems oddly out-of-focus with the rest of the piece and derivative. It makes me wonder if his critics are just expecting him to fit into the late 80s, early 90s neo-bop tradition, and if they get something different they don't know what to do with it.

Specifically, when did Marsalis sound like Miles, and when did he sound like Lester? What exactly is meant by "fussy routines," "tuneless tunes," and "cleverly-displaced accents"? I mean, what actually happened at this concert? I have no idea judging by Litweiler's writing here.

[graypencil]

someone please close this thread ..fast!!

[Clay Fink]

Wynton is to Jazz what Microsoft is to software, what the Bush Family is to politics, what the USA is to the rest of the world, what Texas is to the rest of the USA, what humanity is to other self-replicating physical systems...etc.

[kedoane]

Last month I was given the "Love Supreme" CD, courtesy of the music director at KSJS. I have yet to listen to it.

I have gotten all of my Wynton CDs for free

[Dr Dave]

Wynton's out with a new band? That's nice. He got divergent reviews? How odd.

I'm going for my nap now.

[Peterdubya]

I have a google news alert that sends me 'jazz' articles every day. Had the other article been there, I would have posted it too.

I saw this band last year and LOVED them. It sounds to me like the writer wouldn't really like anything that Wynton did and would write something negative no matter what (much like some posters here).

[Gary Sisco]

Is there a law that He Who Shall Not Be Named's music must be liked by all and sundry who come across it?

I could name a dozen musicians off the top of my head who've been out there since before He was born who get trashed regularly around here, both by His fans and others. I don't hear any moaning from them or anyone about that, when it happens. Hell, people trash musicians around here that they've never even heard -- genres of music, even, never mind musicians.

HWSNBN's chief champion, Mr Grouch, has more than once physically assaulted other jazz people who have differing musical tastes, if anyone wants to talk about trashing musicians and being hard on some asses. I don't hear anyone moaning or bitching about that, either, though it's public knowledge in the jazz world and has even been written up in its press, more than once. I can't say I've heard of any other jazz critic who's punched people out over music he doesn't like.

Yet, somehow it's different if HWSNBN isn't adored by all and takes some verbal criticism. Given the Grouch's behavior toward cats he doesn't like, HWSNBN ought to be damned glad he need suffer only verbal criticisms.

I'm still old school enough to decide about a cat based on what comes out of his horn when he plays it. As for the rest, who cares. Musicians are humans like all others when they're not playing, and all too human when they are. Not all of them are going to be great, no matter how much money is spent trying to convince the unconvinced. A jazzman's reputation is made by his playing. Cars and other shit is sold by marketing execs. If people who love jazz dig His playing, they'll buy His records. If not, they won't. Marketing doesn't work in the jazz world the way it works on children's tv shows, folks. No one can convince anyone of a greatness that's unconvincing.

[Steve Reynolds]

OTOH - people here how champion HRH denigrate musicians and music without ever actually really listening to more than a snippet or a sample - if someone wrote the above on a Brotzmann or Parker set of music, never would the cries be so loud - fact is, some of us would just shrug and realize that that music is simply not for everyone.

but somehow it is OK to simply say that "european jazz" isn't jazz or it doesn't swing or it doesn't do this or that - or it isn't as good - or it is a cheap imitation - but when questions are asked - like - have you actually LISTENED to something like the Clusone Trio - well - no not really - or most likely - dead space - no response

then again, I havn't metr anyone who doesn't or hasn't heard at least a little bit of wonder from that amazing trio - buit then again, one would have had actually had to seek out and actually listen to those three master musicians, storytellers and improvising masters to give a cogent response to the question at hand.


I Am An Indian, baby

[Gary Sisco]

Even if they have heard it and didn't like it, the same point would remain. Tons of musicians get trashed and dismissed out of hand, here and everywhere in the music world. HWSNBN is hardly alone in that regard.

The only thing he's alone in, to judge from these (way too many) threads, is having jazz's most savagely fragile minions, who seemingly can't abide the thought that Their Adored isn't everyone's.

But no one has ever lived who played music that everyone adored.

The whole thing is mindboggling, really. I've been listening to jazz as my primary musical interest (indeed, my primary interest) since 1969. How old was His Royal Highness in 1969? I need Him or His minions to (relentlessly) explain to me what jazz is or isn't?

Not likely. I've heard as much or more jazz as any of them and can therefore decide for myself, based on what I hear, all by myself.

Words, no matter how eloquent or many or expensive, will not make another person dig music he doesn't dig. They never have and they never will.

And so far as I've seen in my decades, insults have never changed anyone's mind about a cat's music, either.

[Peterdubya]

Originally Posted by Gary Sisco

And so far as I've seen in my decades, insults have never changed anyone's mind about a cat's music, either.

Just curious, is calling someone a minion an insult?

[RainyDay]

Originally Posted by Peterdubya

Just curious, is calling someone a minion an insult?

"Minion" isn't an insult, but "savagely fragile minion" definitely is.

[Peterdubya]

Oh good, thanks. Someone once called me a "savagely fragile filet mignon" once, it hurt like hell.

[JamesH]

Gary and Steve,

You two have absolutely no grip on reality. Maybe listening to 20,000 jazz albums fries the brain.

I wonder if anyone has done a medical case study on jazz overage and resulting dementia.

Anyway let's keep it fun fellas. The "savagely fragile minion" comment was hilarious. And Steve, one day I may get to your music and find it enjoyable, but for the time being I can still snap my fingers on the beat.

[JamesH]

Steve,

BTW. In a prior incarnation I picked up two CD's based on your opinion. Dave Douglass' - Magic Triangle and Horace Tapscott's - The Dark Tree.

Douglass' record sounded in part's amateurish (I'm sure he's done better - I guess) and Tapscott's album made me feel like I'd been spinning in circles and was trying to get coherent so I could here the rhythm.

I'm not dogging your taste. To each is own.

[MRS]

I can't see "Bavarian Mist" making anyone dizzy.

[Steve Reynolds]

wow - the Dark Tree - no rhthym with McBee and Cyrille?

it's not even a free jazz recording - one wonders what you would think if the drummer was actually playing more free time - and Mcbee is a rock - and much of it grooves like a mutha

never heard that before - to each his own - but this is a case where you are in the minority - I have never heard that complaint about that recording - a band of four masters at the top of their games - and with great tunes

one can lead a horse to water....

not as thrilled with Magic Triangle as I once was - but amateurish??

pretty unusual take on a recording with Chris Potter and Dave Douglas - that is certainly one description of their playing that I have never heard before - maybe too schooled or academic - but they are certainly very accomplished advanced musicians from whetever criteria one might use to look at what they are doing.

[Rob C]

Howard Reich writes something glowing about every single Marsalis disc or Chicago appearance.

[JamesH]

Originally Posted by Steve Reynolds

wow - the Dark Tree - no rhthym with McBee and Cyrille?

it's not even a free jazz recording - one wonders what you would think if the drummer was actually playing more free time - and Mcbee is a rock - and much of it grooves like a mutha

never heard that before - to each his own - but this is a case where you are in the minority - I have never heard that complaint about that recording - a band of four masters at the top of their games - and with great tunes

one can lead a horse to water....

not as thrilled with Magic Triangle as I once was - but amateurish??

pretty unusual take on a recording with Chris Potter and Dave Douglas - that is certainly one description of their playing that I have never heard before - maybe too schooled or academic - but they are certainly very accomplished advanced musicians from whetever criteria one might use to look at what they are doing.

I do like McBee and Cyrille. Maybe I was out to lunch when I heard it. But I doubt I'd like it now.

Amateurish may be over-the-top. Let's just say I didn't like it. I still need to listen to more Dave Douglass but I've heard enough of Potter. I just think he plays to straight and to your point too academic. You can tell he has all the talent and drive but his sound doesn't say anything to me. He sounds like a guy whose never been challenged by life. No edge at all. If there was a Christian jazz movement he could lead it.

[Rob Damen]

Originally Posted by Gary Sisco

Is there a law that He Who Shall Not Be Named's music must be liked by all and sundry who come across it?

I could name a dozen musicians off the top of my head who've been out there since before He was born who get trashed regularly around here, both by His fans and others. I don't hear any moaning from them or anyone about that, when it happens. Hell, people trash musicians around here that they've never even heard -- genres of music, even, never mind musicians.

HWSNBN's chief champion, Mr Grouch, has more than once physically assaulted other jazz people who have differing musical tastes, if anyone wants to talk about trashing musicians and being hard on some asses. I don't hear anyone moaning or bitching about that, either, though it's public knowledge in the jazz world and has even been written up in its press, more than once. I can't say I've heard of any other jazz critic who's punched people out over music he doesn't like.

Yet, somehow it's different if HWSNBN isn't adored by all and takes some verbal criticism. Given the Grouch's behavior toward cats he doesn't like, HWSNBN ought to be damned glad he need suffer only verbal criticisms.

I'm still old school enough to decide about a cat based on what comes out of his horn when he plays it. As for the rest, who cares. Musicians are humans like all others when they're not playing, and all too human when they are. Not all of them are going to be great, no matter how much money is spent trying to convince the unconvinced. A jazzman's reputation is made by his playing. Cars and other shit is sold by marketing execs. If people who love jazz dig His playing, they'll buy His records. If not, they won't. Marketing doesn't work in the jazz world the way it works on children's tv shows, folks. No one can convince anyone of a greatness that's unconvincing.

Hmmm ...

I don't recall anyone in this thread who said you "had" to like the music. All the guy did was post a concert review. So did I.

And you know what? I merely "kidded" about Joe Maneri, and there were plenty of people who complained about my doing it, so the idea this only happens over Wynton are ludicrous. I even got a warning to boot.

And so Crouch got into a scrape. What, you've never been in a fight?

Really, Sisco, I don't know of anyone who judges music purely based on what they hear. Social, political and cultural influences always have an impact.

Cheers,

Rob

[Rob Damen]

Originally Posted by Steve Reynolds

OTOH - people here how champion HRH denigrate musicians and music without ever actually really listening to more than a snippet or a sample - if someone wrote the above on a Brotzmann or Parker set of music, never would the cries be so loud - fact is, some of us would just shrug and realize that that music is simply not for everyone.

but somehow it is OK to simply say that "european jazz" isn't jazz or it doesn't swing or it doesn't do this or that - or it isn't as good - or it is a cheap imitation - but when questions are asked - like - have you actually LISTENED to something like the Clusone Trio - well - no not really - or most likely - dead space - no response

then again, I havn't metr anyone who doesn't or hasn't heard at least a little bit of wonder from that amazing trio - buit then again, one would have had actually had to seek out and actually listen to those three master musicians, storytellers and improvising masters to give a cogent response to the question at hand.


I Am An Indian, baby

But what if you're like me and you have both WM and the Clusone Trio and thoroughly enjoy the both of them?

Cheers,

Rob

[Pete C]

Originally Posted by JamesH

I do like McBee and Cyrille. Maybe I was out to lunch when I heard it. But I doubt I'd like it now.

I too was surprised by your reaction. Give it another chance.

[Gary Sisco]

Cecil McBee is very arguably the most all-around great bass player working today, you ask me. He can and has played everything, with everyone.

"The Dark Tree" lacking rhythm?

Good luck. Amazing how much ideological can alter musical perception. One reason among many to leave ideology out of music.