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Wynton Marsalis: Jazzman on the Run
SOMETIME during the last year, those of us who were on the mailing list of Columbia Records ran for cover. It was raining CD’s by Wynton Marsalis. By the end of 1999, Mr. Marsalis had released some 20 hours of music on 15 CD’s, a heroic effort called ‘‘Swinging Into the 21st’’ that still has not emptied Columbia’s vaults of his material. Keep reading »
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Wynton Marsalis and Stanley Crouch Discuss ‘Louis Armstrong at 100’ in Miller Theatre
Opening its inaugural “Jazz and American Culture” series for 2000 with a celebration of Louis Armstrong in his centennial year, the newly established Center for Jazz Studies will present a conversation about the jazz great’s legacy with acclaimed trumpeter Wynton Marsalis and critic Stanley Crouch on Tuesday, Feb. 1 at Miller Theatre.
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The program, “The Artistry of ‘Pops’: Louis Armstrong at 100,” will be moderated by Professor Robert O’Meally, a leading interpreter of the dynamics of jazz in American culture, editor of a seminal textbook for jazz studies and founder and director of The Center for Jazz Studies at Columbia. -
Trumpetinghis Mission – Jazz Great Marsalis Wants Folks To Learn To Listen
AT 38, Wynton Marsalis is the most respected trumpet player in jazz. He’s also the most honored. A multi-Grammy winner and artistic director of the Lincoln Center Jazz Program, he’s even won a Pulitzer — in 1997 he was given the prize for his composition “Blood on the Fields,” which addressed racism in the United States. Keep reading »
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Marsalis’s Stylishly Solid Septet, Feeling Right at Home
When the Wynton Marsalis Septet played the theme of Thelonious Monk’s ‘‘Hackensack’’ on Tuesday night at the Village Vanguard, every quarter of the four-horn front line carried a controlled, distinct weight. Each musician projected a particular volume and tone, and the sum was a fine, calibrated mix. You could hear it all and marvel at the craft in it. Keep reading »
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Marsalis’ Epic “All Rise” Reaches High
NEW YORK — It isn’t often that the combined forces of a symphony orchestra, large jazz ensemble and 60-voice choir share a stage. But considering the stylistic range and expressive breadth of the music at hand, perhaps the sheer number of musicians jammed into Avery Fisher Hall at Lincoln Center should not have been surprising. Keep reading »
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Marsalis’s Daring Symphonic Step
Wynton Marsalis’s tap didn’t turn off in 1999. Eight new discs bear his name, ranging from new extended jazz works to rearranged Jelly Roll Morton and Thelonious Monk; he has a seven-CD boxed set of live material; six months of the year were spent touring worldwide and playing the music of Duke Ellington. Keep reading »
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Marathon Man. Anything but Conventional
The phone won’t quit ringing, the front door keeps swinging open and the parade of visitors never seems to stop. The scene, however, is not Grand Central Station. But it’s perhaps the second busiest spot in midtown Manhattan: Wynton Marsalis’ high-rise apartment near Lincoln Center, where he directs the most sweeping jazz performance program in the country, if not the planet. Keep reading »
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Just the Best In Ellington’s Sacred Works
The church of Duke Ellington admitted many denominations: gospel, opera, tap and interpretive dance, European orchestral music and hot, small-group percussiveness. His three Sacred Concerts, given their premieres in 1965, 1968 and 1973, weren’t jazz Masses: he insisted on a difference between talking to God and, as he described his own efforts, ‘‘people talking to people about God.’’ So he took his jazz conception, complete with elements of a nightclub show, into cathedrals. Keep reading »
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A New Horn
What was that odd-looking brass instrument you saw in a jazz club or at the symphony? It was David Monette’s reinvention of the trumpet Keep reading »
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Jammin’ with the CSO
From the moment Daniel Barenboim stepped up to the podium, it was clear that musical conventions were about to be incinerated. Rather than pick up his baton and signal a downbeat for the Chicago Symphony Orchestra as he does each week in Symphony Center, the maestro turned around, faced the audience and began to speak directly to the crowd. Keep reading »
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