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  • Sonny Rollins Meets Wynton Marsalis

    Posted on June 5th, 1983 in Review

    The meeting of the saxophonist Sonny Rollins and the trumpeter Wynton Marsalis finally came to pass Friday night at the Beacon Theater, and it was worth the wait. The concert was originally scheduled last month at Town Hall, but that show got off to a false start when Mr. Rollins fainted early in the first set, shortly after he first locked horns with Mr. Marsalis. It was rescheduled, and ticket holders were offered a choice of refunds or new tickets for the Beacon Theater show.   Keep reading »

  • A cool Cat Who Plays It Smart

    Posted on June 4th, 1983 in Profiles & Interviews

    Wynton Marsalis, the sensational 21-year-old jazz trumpeter from New Orleans – he’s a cool one. On the night of April 23 during a concert at New York’s Town Hall he was looking directly into the face of the man with whom he was playing music – it was Sonny Rollins, the tenor saxophonist – when the unexpected happened.   Keep reading »

  • UC Jazz Festival a sensational show

    Posted on May 31st, 1983 in Review

    THE SECOND of two long, afternoon concerts that constituted the 17th Annual UC-Berkeley Jazz Festival’s Greek Theater shows wound down at 7:15 last night with VSOP II leaving the stage after a 75-minute set while the crowd cheered for more.   Keep reading »

  • Marsalis jazz is marvelous

    Posted on March 7th, 1983 in Review

    In the resurgent wave of jazz that is sweeping the country, and particularly this city, one could accurately consider trumpeter Wynton Marsalis a standard-bearer. In two performances at the Civic Center’s Isthmus Theater Sunday night, Marsalis showed that standard to be of exceptionally high quality.   Keep reading »

  • A Common Understanding (Wynton and Branford Marsalis interview): Downbeat December 1982

    Posted on December 16th, 1982 in Profiles & Interviews

    Nineteen eighty-two was the year of Wynton Marsalis – down beat readers crowned him Jazz Musician of the Year; his debut LP copped Jazz Album of the Year honors; and he was named No. 1 Trumpet (handily defeating Miles in each category).   Keep reading »

  • Darting into the Stratosphere

    Posted on August 28th, 1982 in Profiles & Interviews

    We’re walking up from the downstairs bar at Ronnie’s, and Wynton Marsalis swivels to check my silvery noose. Of course, I tell him where I got it (you think I’m going to tell you?).   Keep reading »

  • Modern New Orleans

    Posted on August 23rd, 1982 in Review

    At the Public Theater’s New Orleans-New York jazz concerts on Friday and Saturday, the wind players strolled onto the stage to begin solos, offstage to end them. It was a subtle but direct reminder of the connection between this sextet and the marches and street parades that lend so much New Orleans music its syncopated strut - a tradition that came through the modern harmonies of the sextet’s compositions.   Keep reading »

  • A Modern Kind of New Orleans Jazz In Town

    Posted on August 20th, 1982 in Profiles & Interviews

    JAZZ as we know it began in New Orleans. Black musicians may have been improvising a jazzlike music in other cities and towns in the early years of this century, but Buddy Bolden, King Oliver, Jelly Roll Morton, Sidney Bechet, Louis Armstrong and the other innovators who stamped their identities on the new music and breathed life into it were all New Orleans men.   Keep reading »

  • A family of music phenoms

    Posted on May 23rd, 1982 in Profiles & Interviews

    It would require a long journey back into musical history to find a sibling team as precociously talented as the Marsalis Brothers. A couple of years ago they were just a pair of teen-agers unknown outside their New Orleans home, presently they have the hottest and most widely publicized new combo in jazz, a CBS Records contract, and a schedule that takes in festivals around the United States and Europe.   Keep reading »

  • Jazz Families Bridge The Generation Gap

    Posted on May 16th, 1982 in Profiles & Interviews

    During the early decades of jazz it wasn’t at all unusual to find fathers and sons playing together in the same bands and indulging in familial give-and-take - mature musicianship and on-the-job know-how versus youthful innovation and first-time exuberance. In the black neighborhoods of New Orleans and the other cities where jazz flourished early, only the holier-than-thou looked down on music as a profession. It was an honorable route out of the black ghetto, in many cases the only route.   Keep reading »