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  • Heat combo: When Wynton Marsalis met Yacub Addy

    Posted on July 9th, 2012 in Articles | 0

    We first saw Wynton Marsalis on television soloing with a symphony orchestra in 1981. The announcer said he came from New Orleans. “I’m going to work with this man,” my husband Yacub Addy said. I was surprised because Yacub is a traditional Ghanaian drummer of the Ga ethnic group. I couldn’t visualise him working with this classically trained trumpeter, although Wynton is known for jazz, which Yacub loved since he was a teenager in Ghana, dancing to American big band hits on the streets of Accra. His music led him from Ghana to Europe and America, where in 1982, as an artist and manager team, we created his current Ghanaian ensemble Odadaa!.   Keep reading »

  • Wynton on METRO UK: Jazz fusion is like Tabasco, it works in small doses

    Posted on July 9th, 2012 in Articles | 0

    This month he appears to be bringing a large chunk of that activity to Britain for one of his biannual visits. Alongside assorted education packages around London and a festival for school bands, Marsalis will conduct a mammoth Jazz at Lincoln Center residency at London’s Barbican and beyond with selected bands. The performances include a collaboration with an African drum troupe, a Harlem-style Abyssinian mass with a 100-voice choir, a Duke Ellington tribute, an exploration of Afro-Cuban jazz, a concert at Birmingham Symphony Hall on July 20 and the British debut of Marsalis’s epic Swing Symphony.   Keep reading »

  • Wynton’s interview on the Telegraph: It don’t mean a thing if it ain’t got swing

    Posted on July 9th, 2012 in Articles | 0

    Being with Wynton Marsalis is always an education. He’s happiest when he can enthuse about something, or learn something new from whoever he’s speaking to. Right now, sitting over lunch in a Japanese restaurant in New York, he’s off on the topic of jazz’s Anglo-Celtic roots. “Those folk songs and hymns the slaves learnt from their masters were the real basis, the African element was grafted on top, not the other way round,” he says very firmly, “and this is why African and jazz rhythms developed in a different way. Listen, if you clap a marching rhythm, one-two-three-four, you can fit a swing rhythm over the top, like this.”   Keep reading »

  • WSJ Covers Holiday Under the Stars

    Posted on December 12th, 2011 in Articles | 0

    Well, I’d say this one calls for a toast: An item on my wish list for 2011 has actually come true. Last year—in this column on Dec. 27, 2010—I made a list of five ways that New York City could be a better place for the arts and audiences in the coming year. Admittedly, some of the wishes were improbable, such as a campaign alerting audiences that standing ovations aren’t the required response to every single show in town. Some things were practical: Why can’t there be an orderly, working cab stand at Lincoln Center?   Keep reading »

  • Downbeat Celebrates Wynton’s 50th

    Posted on December 7th, 2011 in Articles | 0

    With a Lincoln Center special airing on PBS, all eyes have turned to a special birthday taking place in the jazz community: Wynton Marsalis turned 50 on Oct. 18. In celebration of Marsalis’ birthday, a number of people in the music shared their thoughts on Wynton and his professional and/or personal impact.   Keep reading »

  • “Wynton Goes to Harvard” - An Interview with the Wall Street Journal

    Posted on April 20th, 2011 in Articles | 2

    Wynton Marsalis Goes To Harvard (APRIL 18, 2011, 10:38 PM ET) Pulitzer-prize winning jazzman Wynton Marsalis considers himself both student and teacher of music, which is why it comes as no surprise that his newest undertaking is a two-year lecture series at Harvard University. Beginning on April 28, Marsalis will lecture and perform a class entitled “Music as Metaphor.“ The nine-time Grammy award winner currently serves as the artistic director for Jazz at Lincoln Center, a role he will keep throughout the lecture series. Speakeasy talked with Marsalis about the coming series, his love of last-minute pressures and the concept of improvisation. Is every…   Keep reading »

  • Two beats

    Posted on August 2nd, 2010 in Articles | 0

    Around three-fifteen on a recent afternoon, the trombone player and music producer Delfeayo Marsalis sat in the control room of a studio in the West Fifties and said to his brother Wynton and eleven other musicians, “We’re rolling, this is Take 68.” The musicians were recording “Tournament Galop,” a Romantic piano piece that was written by Louis Moreau Gottschalk, who was born in New Orleans in 1829. Take 67 had been Brahms’s Hungarian Dance No. 6, also written for the piano but arranged in this case for piano and brass. Both pieces will accompany a new silent film, “Louis,” a fictionalized account of the childhood of Louis Armstrong. When “Louis” is shown, in five cities over seven days at the end of August, Marsalis and the others will perform the score live. They were recording the soundtrack for a CD.   Keep reading »

  • The Spirit of New Orleans

    Posted on February 7th, 2010 in Articles | 66

    Down on the Bayou where the mighty Mississippi kisses Lake Pontchartrain and spills into the Gulf of Mexico. There sits that jewel of the Southland. What the French lost to the British who gave it to the Spanish who lost it back to the French who sold it to America for….. Well, some folks say Jefferson conned Napoleon in a card game and won it for some jambalaya and a chicory coffee. New Orleans, N’Awlins, the Crescent City, the Big Easy, the northern capitol of the Caribbean, Groove City. Man, they have things down there you wouldn’t believe.…   Keep reading »

  • Wynton Marsalis Featured In Vogue Magazine

    Posted on December 9th, 2009 in Articles | 3

    Wynton Marsalis loves the sound of New York City. For the 48-year-old jazzman, there’s a thrilling harmony in the jangle of the streets. “If you listen beneath the surface of noise—the construction, the sound of the traffic, beneath the rumble of the subway—you can get down to the different interactions between people,” he says. If anyone can hear such nuance, surely Marsalis can. Born in sound-rich New Orleans, he came to New York as a seventeen-year-old prodigy to study at the Juilliard School and promptly started gigging with Art Blakey and the Jazz Messengers. These days, as…   Keep reading »

  • Wall Street Journal: Wynton Marsalis’s Enduring Opus

    Posted on September 24th, 2009 in Articles | 1

    Toddlers filled a classroom one recent Saturday morning inside Frederick P. Rose Hall. Most sat in a circle brandishing toy shakers, some wandered off in the stagger of the newly walking. Welcome to WeBop!, Jazz at Lincoln Center’s program for children 8 months to 5 years old, at which singer Patrice Turner cleverly fit the words to the children’s book “Goodnight, Moon” into John Coltrane’s “Central Park West.” From the start, the organization has built jazz awareness from the bottom up. Yet there’d be no Jazz at Lincoln Center were it not for the ability of its artistic…   Keep reading »