Two Marsalis brothers, two albums in 2020
3rd February 2020 · 0 Comments
By Geraldine Wyckoff
Contributing Writer
The Marsalis brothers, trumpeter Wynton and trombonist Delfeayo, each a leader of their own orchestras, have recently released new albums that reflect very different perspectives and purposes except in furthering jazz music. With Wynton and his brilliant Jazz at Lincoln Center Orchestra honoring genius saxophonist and composer Wayne Shorter, who plays like crazy on his own works on Lincoln Center’s center stage, the scope of this release, it’s certain Delfeayo would agree, stands as historically triumphant. Ultimately good jazz is good jazz – so thumbs up to both musicians.
The Music of Wayne Shorter
Jazz at Lincoln Center Orchestra with Wynton Marsalis featuring Wayne Shorter
(Blue Engine Records)
The only thing amiss for those not in attendance at Wayne Shorter’s 2015, three-night residency at New York’s Jazz at Lincoln Center is that after one listen to “The Music of Wayne Shorter” they are green with envy at not being among the obviously enraptured crowd. It’s fairly certain that people who were there will be talking about the performance for years to come.
There’s no doubt about it that Wayne Shorter’s often quite lengthy solos stand as the apexes of this fine album recorded live in 2015 during the legend’s three-night residency at New York’s Jazz at Lincoln Center. Certainly the excellent musicians who fill the Orchestra and contribute to the arrangements of Shorter’s material selected from decades of his works as a leader and sideman are a strong element to the success of this collaboration. Yet, as is apparent from the audience’s reaction, the listeners in the room are holding their collaborative breathes in anticipation and appreciation of Shorter’s genius.
Even the spaces Shorter leaves between notes and his purposeful stuttering on the opening of the aptly-named “Contemplation,” recorded in 1963 with Art Blakey & the Jazz Messengers, elicit laughter of delight from members of the band. Shorter’s breathy tenor embraces such humanistic qualities of warmth, sorrow and finally joy.
“Armageddon,” from the saxophonist’s 1964 album Night Dream explodes at the onset and then the always exploratory Shorter hard bops it as, it could be said, like nobody else can. Strong backing by drummer Ali Jackson and pianist Dan Nimmer, who play exceptionally throughout, forward the motion.
The album exits on the earliest of the saxophonist’s selections, “Mama G” that was first heard on pianist Wynton Kelly’s 1959 release “Kelly Great.” Shorter’s blowing makes it sound as if he wrote it yesterday rather than over 60 years ago. But then that’s the strength of “The Music of Wayne Shorter.” His compositions and tenor and soprano work continue to radiate creative freshness.
Delfeayo Marsalis & Uptown Jazz Orchestra
Jazz Party
(Troubadour Jass Records)
Delfeayo Marsalis and his Uptown Jazz Orchestra sound like they are enjoying exploring jazz’s multiple personalities and possibilities on “Jazz Party.” The trombonist and his talented crew swing it, give it second line beat, funk it up, offers some sophistication, look back for some New Orleans traditional flavor and go home to the blues.
Marsalis penned all but four of the selections here – you’ll know ‘em – that offers insight into his breadth of interest, knowledge and love of jazz in its many incarnations. The album opens with the scatting of Tony Boyd-Cannon, on a Marsalis original, the title cut “Jazz Party” that features the leader’s always tonally right on trombone and the orchestra working on a big band styled arrangement. It works as a casually friendly welcoming to the musical fiesta and the rest of the album.
The three “cover” tunes are very well selected and come out of the New Orleans brass band songbook. First up is “Blackbird Special,” which was written by the members of the Dirty Dozen Brass Band and heard on the group’s excellent 1984 release “Feet Don’t Fail Me Now.” It certainly deserves resurrection particularly by an ensemble up to the task as is the UJO. Part of the reason it works so well is the presence of baritonist Roger Lewis, an original member of the Dozen who on this version, initially uses the horn’s low tones to substitute for the sousaphone part. Another advantage this particular orchestra has in successfully meeting the spirit of the tune is that many of the members have been in brass bands, played the streets, including Marsalis, fellow trombonist Terrance Taplin, saxophonist Roderick Paulin and trumpeter Dr. Brice Miller.
The other two street beats included are the Soul Rebels masterpiece “Let Your Mind Be Free,” which continues to remain vital at second lines almost 25 years after the release of the album of the same name. The solos on the track by saxophonist Paulin, trombonist T.J. Norris and trumpeter Scott Frock are blazin’ and pushed by the incredible drumming of Joe Dyson, who, as usual, kill throughout the disc. The reed section takes over on trumpeter James Andrews’ very fine, slightly less know, “Caribbean Second Line.”
Back to Delf’s originals… The orchestra gets funky on “Dr. Hardgroove,” a danceable number with Raymond Weber taking over on drums. Saxophonist Khari Allen Lee and trumpeter Andrew Baham display their modern jazz chops on this groove of a tune. Marsalis takes advantage of the diversity of the musical backgrounds of these New Orleans musicians and generously spreads solos around throughout the band.
Jazz Party lives up to its name though it’s not a celebration happening just anywhere. It’s a New Orleans party.
This article originally published in the February 3, 2019 print edition of The Louisiana Weekly newspaper.
