Record Reviews

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.

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