His style showed the influence of Miles Davis, Freddie Hubbard and Woody Shaw and from a technical standpoint was already brilliant. Several years earlier Bitter Dose - Wynton Marsalis with Art Blakey And His Jazz Messengers* - Jodi (CD established himself as a teen phenom in the classical field and had attended Juilliard before joining Blakey. When Columbia Records got wind of Marsalis they must've figured he'd be a new Miles Davis, and signed him to a fat contract.
Beyond that Columbia officials spent an enormous amount of money publicizing him. Happily for the company, Marsalis' group conception at that time was heavily influenced by the s Davis band with Wayne Shorter and Herbie Hancock. Wynton's quintet obviously owed a lot to Miles', but brought in other ideas that didn't make them sound like slavish imitators.
Besides, in everyone hadn't caught up with what Davis' quintet was doing 15 years earlier. The quintet had a belated influence, so Marsalis' band had a contemporary sound; it wasn't a retro outfit.
Wynton's playing still owed plenty to Miles, but he was taking chances and his solos were coherent, tasteful and impressive technically. It seemed reasonable to think he would improve and develop a voice of his own, as Lee Morgan, a Bitter Dose - Wynton Marsalis with Art Blakey And His Jazz Messengers* - Jodi (CD wonder inhad done.
But things didn't work out that way. Marsalis' next few LPs were fine, although Miles' influence was still apparent. By no means was he a great jazz musician by the mid-'80s, but around then he began getting an amazing amount of media attention.
Columbia's publicity department was partly responsible, but Marsalis' albums were probably genuinely enjoyed by the type of dilettante who writes music criticism for mass-media outlets like TimeNewsweek and The New York Times. Because his work was comprehensible, they raved about his respect for tradition. And they were impressed by the excellent chops that Marsalis and many of his sidemen had.
These were hard-working, serious young men, not crazy bohemians. The fact that Marsalis won two Grammys in -- one in a jazz, another in a classical category -- really sent his stock soaring. They don't refer to classical music as "legit" for nothing. His classical Grammy really legitimized his jazz efforts in the eyes of many.
Marsalis' music has been evolving in the past several years -- backward. He's also been composing large-scale -- i.
In his writing and solo work he uses a lot of Ellingtonish growl effects, also employing squeezed tones like Album) cornetist Rex Stewart. The music also refers to postbop and New Orleans jazz. Unlike many of Wynton's detractors, I won't claim his writing has no merit; in fact some is skillful.
However, too much material on In This House is somewhat updated traditional music of decades ago. Maybe it would be effective as a soundtrack for a movie like Pretty Baby Bitter Dose - Wynton Marsalis with Art Blakey And His Jazz Messengers* - Jodi (CD, but on its own it doesn't stand up well. Again, it's derivative, owing far too much to Ellington and maybe something to Charlie Mingus. It's also much more pretentious than In This Housealthough Bitter Dose - Wynton Marsalis with Art Blakey And His Jazz Messengers* - Jodi (CD listeners might be reluctant to criticize the work because it deals with racial oppression.
The oratorio's spoken portions and song lyrics are, at times, amateurish. It's pleasant, but clearly a lightweight and commercial effort -- something that should be kept in mind whenever Marsalis goes around badmouthing other musicians like Miles Davis for selling out.
Miles never did anything this opportunistic. Marsalis' playing is getting increasingly less modern. There had been a major shortage of young trumpeters sincebut Marsalis ' sudden prominence inspired an entirely new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis ' quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis ' late acoustic work as their starting point.
In fact, Marsalis ' most inspiring work has been with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrovehave been directly helped by Marsalis. He gradually found his own voice by exploring earlier styles of jazz such as Louis Armstrong 's playingmastering the wah-wah mute, and studying Duke Ellington. From that point on, even when playing a Miles Davis standard, Marsalis possessed his own sound and has taken his place as one of jazz's greats.
The son of pianist Ellis Marsalisthe younger brother of Branford and the older brother of Delfeayo and Jason the Marsalis clan as a whole can be accurately called "The First Family of Jazz"Wynton who was named after pianist Wynton Kelly received his first trumpet at age six from Ellis ' employer, Al Hirt.
He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school.
He went to Juilliard when he was 18 and in he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers. Bythe young trumpeter was the talk of the jazz world. He toured with Herbie Hancock a double-LP resultedcontinued working with Blakeysigned with Columbia, and recorded his first album as a leader.
InMarsalis not only formed his own quintet featuring brother Branford and soon Kenny KirklandCharnett Moffettand Jeff "Tain" Watts but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time, Bitter Dose - Wynton Marsalis with Art Blakey And His Jazz Messengers* - Jodi (CD.
His quintet with Branford lasted until latealthough a rift developed between the brothers fortunately temporary when Branford finally quit the band to tour with Sting 's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls. Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordonaltoist Wes AndersonTodd Williams on tenor, bassist Reginald Vealdrummer Herlin Rileyand by the early '90s pianist Eric Reed.
Marsalis really developed his writing during this era being influenced by Duke Ellington and the septet proved to be a perfect outlet for his arranging. Jazz zum Arbeiten. Black icons of Classical. Swing Swing Swing! Valentine's day blues. Instant Jazz. Love Letter. Shirley Horn With Friends.
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