Record Reviews

BRANFORD MARSALIS ~ A LOVE SUPREME OKEH 888750690326 (Barcode: 888750690326) ~ USA ~ Jazz Recorded: 2003 Released: 2015 This is a live recording by the American saxophonist / composer Branford MarsalisFind albums by this artist and his quartet, which also includes pianist Joey CalderazzoFind albums by this artist, bassist Eric RevisFind albums by this artist and drummer Jeff WattsFind albums by this artist. The quartet performs the material originally recorded by the John ColtraneFind albums by this artist quartet entitled "A Love SupremeFind albums with this title", which in time achieved legendary status and is universally accepted as one of the very finest and most influential Jazz albums ever recorded. The album includes both the audio and video recording of a concert, which took place in Amsterdam in 2003, twelve years before it was released. The video also includes interviews with many musicians, including Coltrane´s wife Alice ColtraneFind albums by this artist and other bonus footage. Sometimes I am utterly speechless and the only thing to do is spread one´s arms and take a long look at the sky. Why on earth would anybody touch a sacred, universally admired piece of human Genius and mess with it is beyond me, especially a musician of the status of Branford Marsalis. What was he trying to do; to imitate, to improve, to re-think, to re-construct, to de-construct Coltrane´s music? Sadly none of the above is even remotely close to what is happening on this album, since actually nothing is happening. Four musicians play Coltrane´s music, without feeling, without passion, without respect… This album is an act of profanity as far as Coltrane´s memory is concerned, and an insult to Jazz. In the forty years of Jazz creativity that passed between the time Coltrane recorded this immortal music and the time Marsalis has his way with it were brutally dumped into the waste bin of Culture, as this album not only does not offer anything innovative about Coltrane´s music but trivializes it by pretentiously copying it. Perhaps this album is an epitome of American Jazz, which has been almost completely brain dead since Coltrane´s death and never managed to produce another Prophet of his magnitude. Many have tried, Marsalis among them, but none got even close. Some things are best left alone, and this album is a classic example of what happens when they are not. If you love, cherish and admire "A Love Supreme", please do not listen to this album!

CD+DVD 2 Recommend To A Friend

WYNTON MARSALIS ~ J MOOD WOUNDED BIRD 4308 (Barcode: 664140430822) ~ USA ~ Jazz Recorded: 1986 Released: 2007 Following the departure of saxophonist Branford MarsalisFind albums by this artist, trumpeter Wynton MarsalisFind albums by this artist tightened his group into a quartet. The decision at the time not to replace Branford with another saxophonist and create a trumpet quartet, seemingly a more limited musical vehicle, was a completely conscious one and as far as Wynton was concerned he needed to concentrate the attention totally on his performances, polishing his technique and pushing his skills as player and composer beyond anything previously witnessed. The quartet with excellent new pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist became an incredibly tight unit, able to deliver music of the highest quality and always challenging the listener with its virtuosity and intelligence. Wynton´s compositions became more flexible and presented a wider scope of emotional delivery. This album presents a gentler, more lyrical Wynton, playing mostly his original compositions, most of which are slow tempo ballads. The relaxed and almost lush atmosphere of the music brings up gentle memories of some of the early Miles DavisFind albums by this artist work, but Wynton plays more around with the sound as opposed to Miles dance with timing. The rhythm section is simply perfect. Roberts arises as one of the greatest pianist of the era, which he later proved time after time on his solo recordings, delivering incredible solos and superb accompaniment. Hurst and Watts keep the timing like an atomic clock, but allow enough of creative delivery to keep the music interesting not only on the melodic level, but on the rhythmic level as well. Overall this is a "perfect" Jazz album in every sense – everything is just right on and everything clicks in perfect harmony. Although rarely mentioned as a classic Jazz recording, perhaps due to the fact that it lacks the groundbreaking element of radical innovation, nevertheless this is a Classic (with a capital C), worthy of a honorable place in any serious Jazz collection.

CD 1 Essential Recommend To A Friend

WYNTON MARSALIS ~ LIVE AT BLUES ALLEY WOUNDED BIRD 4675 (Barcode: 664140467521) ~ USA ~ Jazz Recorded: 1986 Released: 2007 Recorded live during a couple of nights at the Washington, D.C. club Blues Alley, this album captures 25 years old trumpeter / composer / bandleader Wynton MarsalisFind albums by this artist and his quartet doing their thing. Marsalis was already a "living legend", after spending the last half decade in the epicenter of public (Jazz and otherwise) eye. Behind him a series of Jazz and Classical Music recordings, received with almost universal applause and a long string of standing ovations at clubs and concert halls, which fallowed his live appearances. It was time to share the excitement of a live performance with a wider audience via a live recording and perhaps prove once and for all that the "living legend" status was not hype, but was based on solid grounds. The quartet, which earlier that year recorded the splendid "J MoodFind albums with this title" album, consisted of Marsalis, pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist. The double album presents the music at the natural order of performance (with obvious editing), with each of the two records covering a separate night, two sets each night. This results in some of the tunes to be repeated twice, which of course is highly educational, as the performances are completely different, as appropriate for Jazz. The music, mostly written by Marsalis, with a few standards included as well, is mostly up tempo, which suits better a live performance situation and perhaps purposely allows the leader to "show off", proving his point. Regardless of the background information, hidden agendas and other less relevant factors, the music captured on this album is absolutely outstanding, turning it into one of the best live Jazz albums ever recorded. Wynton plays like a Greek God, with flow, technique, sound and virtuosity unparalleled by any of his peers, hitting the high register with might and sustain worthy of Maynard FergusonFind albums by this artist. The pianist delivers incredible solos, full of sublime contents both lyrically and rhythmically and the bass / drums backbone drives the music at a neck-breaking speed with elegance and zest. Whatever one might think of Wynton Marsalis as a person becomes completely irrelevant in view of the music presented here – he is a phenomenal performer and a great asset to the music, which really is all that matters. Absolutely essential piece of music!

CD 2 Essential Recommend To A Friend

WYNTON MARSALIS ~ THICK IN THE SOUTH: SOUL GESTURES IN SOUTHERN BLUE VOL. 1 WOUNDED BIRD 7977 (Barcode: 664140797727) ~ USA ~ Jazz Recorded: 1991 Released: 2008 Just ten years after he first appeared on the scene as a solo artist bandleader, trumpeter / composer / bandleader Wynton MarsalisFind albums by this artist could present a résumé, which was unprecedented in Jazz history and was by far more impressive than many lifetime achievements by his peers. Twenty albums with Jazz and Classical Music recordings, countless performances around the world, numerous compositions, prizes and awards, all these wrapped up and commercialized by an intensive PR campaign by his record label ColumbiaFind albums on this label, presented a renaissance musician, a role model and a superstar. Marsalis was just 30 years old and his ego and probably his conscience drove him incessantly to prove himself worthy of this superstar status. His musical projects became ever more complex and encompassing and Columbia indulged him in view of his success. The album trilogy, entitled "Soul Gestures In Southern BlueFind albums with this title", was Marsalis´ final project about the sources of Jazz, New Orleans Blues / Jazz connections and the emergence of modern Jazz from this primeval genealogy. For this, the first of the three albums, Marsalis formed an ad-hoc quintet by inviting legendary saxophonist Joe HendersonFind albums by this artist to play with him, supported by his regular rhythm session comprising of pianist Marcus RobertsFind albums by this artist, bassist Robert HurstFind albums by this artist and drummer Jeff WattsFind albums by this artist. On a couple of tracks Watts was replaced by another Jazz legend Elvin JonesFind albums by this artist. The quintet performs five Marsalis´ compositions, which are designed to allow for extensive improvisations and interplay between the players. The music is intense and dramatic, revealing the composer´s tendency to intensify his music towards a more "chamber" direction, with layers of sound intertwined into the harmonic structure. Marsalis, Henderson and Roberts play some brilliant solos throughout the album and the overall level of musicianship is simply breathtaking. Surprisingly (or may be not) the trilogy received "icy" reviews, again accusing Marsalis of imitating or being overly influenced by Miles Davis in this project. In my view Marsalis at this point was completely cured from the Miles complex and if these recordings have anything to do with Miles, they are a loving tribute to the Masters legacy, not an imitation. Brilliant stuff!

CD 1 Recommend To A Friend

WYNTON MARSALIS ~ THINK OF ONE WOUNDED BIRD 8641 (Barcode: 664140864122) ~ USA ~ Jazz Recorded: 1983 Released: 2007 Whereas the eponymous debut album by American trumpeter / composer / arranger / bandleader Wynton MarsalisFind albums by this artist was somewhat a mixed affair, comprising of two different recording sessions with two different rhythm sections, this, his second album, is a well tempered affair. Finally heading his own permanent quintet, with brother Branford MarsalisFind albums by this artist on saxophones, the wonderful pianist Kenny KirklandFind albums by this artist, bassist Phil BowlerFind albums by this artist (or Ray DrummondFind albums by this artist on half of the tracks) and drummer Jeff WattsFind albums by this artist, Marsalis in truly in his element, firmly holding the reins of a leader. With Miles DavisFind albums by this artist influence still looming in the background, Wynton´s trumpet playing shows first signs of his lyrical side with less emphasis on the technical brilliance and more relaxed flow. He contributes three original compositions and the rest of the material includes a Kirkland and Drummond (one each) originals and standards by Thelonious MonkFind albums by this artist and Duke EllingtonFind albums by this artist. Wynton and Branford play well together, although a tension between the brothers was about to develop soon after, as a result of Branford´s tendencies towards more free-form improvisations while Wynton demanded a more conservative approach. Overall this is an incredibly solid album with no weak moments, flowing seamlessly from one tune to another, with brilliant soloing and tight but inventive rhythm section work. The 1980s were after all the age of the great return, when the two decades of experimentation first with Free form and improvised music and later with Jazz-Rock Fusion was pretty much over, leaving the Jazz musicians to re-invent modern Jazz using solid and well established ground while pushing the boundaries of virtuosity to the limit or perhaps beyond the limit – no other musician at the time was better at it than Wynton Marsalis and his crew. A classic!

CD 1 Recommend To A Friend

WARREN WOLF ~ CONVERGENCE MACK AVENUE 1105 (Barcode: 673203110526) ~ USA ~ Jazz Recorded: 2016 Released: 2016 This is an album by American vibraphonist / composer Warren WolfFind albums by this artist, recorded with a stellar lineup, which features pianist Brad MehldauFind albums by this artist (on five tunes), guitarist John ScofieldFind albums by this artist (on two tunes), bassist Christian McBrideFind albums by this artist and drummer Jeff WattsFind albums by this artist. It presents eleven tracks, six of which are original compositions by Wolf and five are standards (the last tune is a medley of a standard and a Classical piece). Sadly the stellar lineup is unable to save this album from the terrible boredom that it offers to the listener. In fact this album epitomizes everything that is wrong with American Jazz: it is outdated, unimaginable, derivative and simply tedious. The original compositions are unremarkable and the standards played here offer absolutely nothing that was not already stated thousands of times before. No ambition, no imagination, no effort… Of course these musicians can play, and they do play very well, but the result remains dull and unimpressive, similar to thousands of other mainstream American albums recorded every year and all sounding exactly the same. The two tracks with Scofield at least offer his remarkable power of expression, but that is by far not enough to save this album from complete failure. The funny thing is of course reading the reviews of this album, written by American critics (look them up). They all think this album is remarkable, outstanding and fabulous, which of course goes to show that the entire American Jazz scene is simply completely hypocritical and rotten. Saying that Wolf is the next Milt JacksonFind albums by this artist or Bobby HutchersonFind albums by this artist is an insult to these two great pioneers. Wolf plays well technically but his playing offers no innovation or progress which was the trademark of all great vibraphonists (or Jazz musicians in general) before him. In short this is just another boring American mainstream album, which sounds nice and lets the listener tap his feet to the steady rhythm, requiring zero intellectual effort to listen to the music, which simply washes off the listener´s mind instantly when the music is over.

Updated: 04/11/2016Posted: 04/11/2016

CD 1 Digipak Recommend To A Friend