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I learned a lot listening to and reading the descriptions of these recordings and thought I would share the source here at SOTW.
Wynton Marsalis 12 Essential Jazz Recordings
Wynton Marsalis 12 Essential Jazz Recordings
Wynton Marsalis 12 Essential Jazz Recordings
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There may be differing points of view on Wynton's playing, but as an "educator" in the field of music, jazz and jazz history he has few peers IMO. His set of DVD's for entitled "Marsalis on Music" has been an excellent resource for elementary music classes for many years.
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What "differing points of view"? Maybe from a stylistic viewpoint, but that's just taste, and often says more about the opinion-holder than the subject.
But from a technical point of view he is the baddest mother-father of them all.
I'll admit that there are other trumpet players I'd rather listen to, but from a respect and admiration standpoint, for accomplishments both musical and not, IMO he has no peer.
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I take a slightly different view of him, actually.
He was really the first jazz musician to have a fine tuned, turbo-powered self-marketing scheme.
Regarding the educator aspect....I'll just briefly remind people early on in his lecturing career, he said some things which were truly foolish, while trying to push a particularly afro-centric version of jazz history. He realized, probably more out of career/branding necessity as opposed to any deeper reason, he had to tone that stuff down pretty fast, so being the consummate businessman...he of course did.
And, yes, there are of course differing points of view on his talent and contributions as a player, as again, there certainly should be.
I will leave it at that ....
He was really the first jazz musician to have a fine tuned, turbo-powered self-marketing scheme.
Regarding the educator aspect....I'll just briefly remind people early on in his lecturing career, he said some things which were truly foolish, while trying to push a particularly afro-centric version of jazz history. He realized, probably more out of career/branding necessity as opposed to any deeper reason, he had to tone that stuff down pretty fast, so being the consummate businessman...he of course did.
And, yes, there are of course differing points of view on his talent and contributions as a player, as again, there certainly should be.
I will leave it at that ....
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I've long since stop listening to his playing and talking as I haven't found either very interesting, but didn't he used to disparage anything that didn't "swing" in the narrowest of senses... and now he was Ornette's practice buddy and Ornette is essential?
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It's understood that Wynton is a polarizing figure and the irony of him talking about Ornette wasn't lost on me either. At least he's embracing this important music in jazz now because it was non existent when he collaborated with Ken Burns many years ago.
I think Wynton us somewhat misunderstood... I think he just likes the old stuff, and doesn't consider fusion jazz. In his own description, it has to swing and have the blues. I disagree about where he draws the line, quite strongly, but I respect the opinion as well as the work he does to keep the tradition alive. He did an interview with Ethan Iverson that is pretty interesting.
Ornette, at least early Ornette fits his rather strict definition... I don't know anything about their relationship but I don't have reason to think he's only talking it up for show either. He's very clear that the old stuff is still first in his heart.
The Ken Burns documentary has a lot of problems, but the primary one in my eyes is that it makes jazz seem dead by basically ending in 1970. Right now jazz has a lot of great players and some great groups, and a lot of great jazz happened between 1970 and now. I have been trying to educate myself on this stuff, as like many people I spent a lot more time on the old greats and have not given new stuff enough attention. I have thought about doing some YouTube videos on things I have discovered. Nicole Mitchell's small group stuff is criminally underrated, even going back to listen to Pat Metheny Group albums... there are some just KILLER solos and compositions there... listen to "We Live Here" and try to tell me Pat only put interesting work on his side albums.
But if you want the tradition, Wynton is one of the best places to learn about the tradition, and I won't knock that.
Ornette, at least early Ornette fits his rather strict definition... I don't know anything about their relationship but I don't have reason to think he's only talking it up for show either. He's very clear that the old stuff is still first in his heart.
The Ken Burns documentary has a lot of problems, but the primary one in my eyes is that it makes jazz seem dead by basically ending in 1970. Right now jazz has a lot of great players and some great groups, and a lot of great jazz happened between 1970 and now. I have been trying to educate myself on this stuff, as like many people I spent a lot more time on the old greats and have not given new stuff enough attention. I have thought about doing some YouTube videos on things I have discovered. Nicole Mitchell's small group stuff is criminally underrated, even going back to listen to Pat Metheny Group albums... there are some just KILLER solos and compositions there... listen to "We Live Here" and try to tell me Pat only put interesting work on his side albums.
But if you want the tradition, Wynton is one of the best places to learn about the tradition, and I won't knock that.
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