HERBIE HANCOCK – Quartet (1982) FLAC (image+.cue) lossless

This is an extremely symbolic album, for Herbie Hancock and the V.S.O.P. rhythm section essentially pass the torch of the '80s acoustic jazz revival to the younger generation, as personified by then 19-year-old Wynton Marsalis. Recorded during a break on a tour of Japan, a month before Marsalis made his first Columbia album, the technically fearless teenaged trumpeter mostly plays the eager student, imitating Miles, Freddie Hubbard, and Clifford Brown, obviously relishing the challenge of keeping up with his world-class cohorts. Things start out conventionally enough with a couple of Monk standards, and then they progress into the mid-'60s Miles Davis post-bop zone, with Ron Carter and Tony Williams driving Marsalis and Hancock relentlessly forward. Several staples from the Miles/V.S.O.P. repertoire turn up ("The Eye of the Hurricane," "The Sorcerer," "Pee Wee"), and there is one wistful ballad, "I Fall in Love Too Easily," where Marsalis sounds a bit callow, not yet the master colorist. Hancock remains a complex, stimulating acoustic pianist, the years of disco having taken no toll whatsoever on his musicianship. This looked like it would be a Japan-only release, but since the buzz on Marsalis was so loud, CBS put it out in the U.S. in 1983, fanning the flames even more.  Richard S. Ginell
Tracklist :
1    Well You Needn't 6:26
Written-By – T. Monk
2    'Round Midnight 6:38
Written-By – B. Hanighen, C. Williams, T. Monk
3    Clear Ways 5:01
Written-By – T. Williams
4    A Quick Sketch 16:24
Written-By – R. Carter
5    The Eye Of The Hurricane 8:03
Written-By – H. Hancock
6    Parade 7:56
Written-By – R. Carter
7    The Sorcerer 7:18
Written-By – H. Hancock
8    Pee Wee 4:32
Written-By – T. Williams
9    I Fall In Love Too Easily 5:53
Written-By – J. Styne-S. Cahn
Credits :
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis

ELVIN JONES SPECIAL QUARTET — Tribute To John Coltrane " A Love Supreme" (1994) WV (image+.cue), lossless

Recorded live at a Tokyo nightclub, the "special" in special quartet is trumpeter Wynton Marsalis. Functioning as the lone horn in the ensemble and supported by two of his former sidemen, pianist Marcus Roberts and bassist Reginald Veal, in a group led by one of jazz's greatest drummers, Marsalis' improvisational abilities are displayed prominently on this program of two John Coltrane compositions, one by Marsalis, and a swinging rendition of "Happy Birthday" for a member of the audience. The highlight of this recording is a 47-minute version of the first three movements of Coltrane's "A Love Supreme." Whether ripping off fast runs or blaring held high notes, Marsalis shows himself as a player deserving of his notoriety. Jones is his usual powerful polyrhythmic self, while Roberts and Veal offer solid support. The rest of the program includes Coltrane's ballad "Dear Lord" and Marsalis' tribute to Jones, "Blues for Veen." An essential recording for Jones and Marsalis completists. Greg Turner
Tracklist :
1    A Love Supreme: Pt. 1 Acknowledgement/Pt. 2 Resolution/Pt. 3 Pursuance 47:16
Arranged By – Wynton Marsalis
Composed By – J. Coltrane
2    Dear Lord 6:32
Arranged By – Wynton Marsalis
Composed By – J. Coltrane
3    Happy Birthday For "Yuka" 7:24
Traditional
Arranged By – Elvin Jones
4    Blues To Veen 15:04
Arranged By – Wynton Marsalis
Composed By – W. Marsalis
Credits :
Bass – Reginald Veal
Drums, Music Director – Elvin Jones
Piano – Marcus Roberts
Trumpet, Guest [Special Guest Artist] – Wynton Marsalis

DIZZY GILLESPIE – To Diz, With Love (Live At The Blue Note) (1992) APE (tracks+.cue), lossless

Dizzy Gillespie's final recording, taken from a month he spent featured at the Blue Note in New York, matches the aging giant with such fellow trumpeters as Jon Faddis, Wynton Marsalis, Claudio Roditi, Wallace Roney, Red Rodney, Charlie Sepulveda and the ancient -- but still brilliant -- Doc Cheatham (who cuts both Diz and Faddis on "Mood Indigo"). Although Gillespie was no longer up to the competition, the love that these fellow trumpeters had for him (and some fine solos) makes this historic CD worth getting. Scott Yanow              Tracklist + Credits :

WYNTON MARSALIS - Wynton Marsalis (1981) APE (image+.cue), lossless

Trumpeter Wynton Marsalis's debut on Columbia, recorded when he was only 19, made it clear from the start that he was going to be a major force in jazz. At the time Marsalis (who was originally a bit influenced by Freddie Hubbard) was starting to closely emulate Miles Davis of the mid-'60s and his slightly older brother Branford took Wayne Shorter as his role model. The inclusion of Davis's rhythm section from that era (pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams) on four of the seven selections reinforced the image. The three other numbers feature such up-and-coming talents as pianist Kenny Kirkland, Charles Fambrough or Clarence Seay on bass and drummer Jeff "Tain" Watts, helping to launch the rise of the Young Lions. But although not overly original, there is a great deal of outstanding playing on this set, including a definitive version of Tony Williams's "Sister Cheryl" and the long tradeoff between Wynton and Branford on "Hesitation." Scott Yanow
Tracklist :
1     Father Time 8'14
Bass – Clarence Seay
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet, Written-By – W. Marsalis
2     I'll Be There When the Time Is Right 2'33
Bass – Clarence Seay
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – H. Hancock
3     RJ 3'50
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – R. Carter
4     Hesitation 5'42
Bass – Ron Carter
Drums – Tony Williams
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – W. Marsalis
5     Sister Cheryl 7'24
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – T. Williams
6     Who Can I Turn To (When Nobody Needs Me) 4'39
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Trumpet – Wynton Marsalis
Written-By – A. Newley, L. Bricusse
7     Twilight 8'39
Bass – Charles Fambrough
Drums – Jeff Watts
Piano – Kenny Kirkland
Saxophone – Branford Marsalis
Trumpet – Wynton Marsalis
Written-By – W. Marsalis

WYNTON MARSALIS - Think of One (1983) FLAC (image+.cue), lossless

In his early years after leaving Art Blakey's Jazz Messengers, Wynton Marsalis strode forth with this excellent recording, his second as a leader, done in tandem with brother Branford, also out of Blakey's herd. The combination of the two siblings created quite a buzz in the music community, and this recording, which may stand the test of time as his finest, is one of the more solid mainstream jazz statements from the Young Lions movement of the early '80s. Top to bottom, this music sings, swings, simmers, and cooks with a cool verve that, in retrospect, would turn more overtly intellectual over time. A command of dynamics akin to those of Charles Mingus creates a signature sound, heard clearly in the opener, "Knozz-Moe-King," fueled by supercharged bop; the bold, extroverted, and precise trumpeting of the leader; and Kenny Kirkland's complementary piano comping. It could be the best single track of the entire recording career of Wynton. Ranking close behind is the tick-tock drumming of Jeff Watts, informing the pretty albeit dark musings of the brothers during "Fuchsia," and the sighing horns, samba bass of Phil Bowler, and stop-start modernities of an utterly original "The Bell Ringer." A bouncy treatment of the standard "My Ideal" shows Wynton's singing tone through his horn, a great interpretation of Thelonious Monk's "Think of One" is totally sly and slinky in low-register hues, and triplet phrases that have become a staple of the Marsalis musical identity accent "Later," adapted from a phrase similar to "Surrey with the Fringe on Top." At their unified best, Wynton and Branford shine on the tricky "What Is Happening Here (Now)?," a spillover residual of their time with Blakey. Think of One is a definitive statement for Wynton Marsalis, and though other efforts turned much more elaborate, none have been played better -- with more palpable spark and original ideas -- than this fine studio date. Michael G. Nastos
Tracklist :
1     Knozz-Moe-King 6'00
Wynton Marsalis
2     Fuschia 6'29
K. Kirkland
3     My Ideal 6'19
Newell Chase / Leo Robin / Richard A. Whiting
4     What Is Happening Here (Now) ? 4'06
Ray Drummond
5     Think of One 5'30
Thelonious Monk
Arranged By – Wynton Marsalis
6     The Bell Ringer 9'05
Wynton Marsalis
7     Later 4'09
Wynton Marsalis
8     Melancholia 2'49
Duke Ellington
Credits :
Bass – Phil Bowler, Ray Drummond (pistas: 2, 4, 7, 8)
Drums – Jeffrey Watts
Piano – Kenny Kirkland
Producer, Trumpet – Wynton Marsalis
Soprano Saxophone, Tenor Saxophone – Branford Marsalis

WYNTON MARSALIS - Hot House Flowers (1984-1997) FLAC (image+.cue), lossless

Wynton Marsalis, very much in his Miles Davis period, plays quite melodically throughout this ballad-dominated outing with strings. Branford Marsalis (on tenor and soprano), flutist Kent Jordan, pianist Kenny Kirkland, bassist Ron Carter, and drummer Jeff Watts are strong assets but it is Wynton's subtle creativity on such songs as "Stardust," "When You Wish Upon a Star," Duke Ellington's "Melancholia," and "I'm Confessin'" that makes this recording special. The arrangements by Robert Freedman generally keep the strings from sounding too sticky and Wynton's tone is consistently. Scott Yanow
Tracklist :
1     Stardust 4'07
Hoagy Carmichael / Mitchell Parish
2     Lazy Afternoon 5'03
John Latouche / Jürg Morgenthaler / Jerome Moross
3     For All We Know 6'15
J. Fred Coots / Sam M. Lewis
4     When You Wish Upon a Star 4'40
Leigh Harline / Ned Washington
5     Django 4'52
John Lewis
6     Melancholia 5'09
Duke Ellington
7     Hot House Flowers 5'46
Wynton Marsalis
8     I'm Confessin' (That I Love You) 5'41
Doc Daugherty / Al J. Neiburg / Ellis Reynolds
Credits :
Acoustic Bass – Ron Carter
Drums – Jeff "Tain" Watts
Flute [Alto] – Kent Jordan
Piano – Kenny Kirkland
Saxophone [Tenor], Saxophone [Soprano] – Branford Marsalis
Trumpet – Wynton Marsalis

WYNTON MARSALIS - Black Codes (From the Underground) (1985) APE (image+.cue), lossless

This is probably the best Wynton Marsalis recording from his Miles Davis period. With his brother Branford (who doubles here on tenor and soprano) often closely emulating Wayne Shorter and the rhythm section (pianist Kenny Kirkland, bassist Charnett Moffett, and drummer Jeff Watts) sounding a bit like the famous Herbie Hancock-Ron Carter-Tony Williams trio, Wynton is heard at the head of what was essentially an updated version of the mid- to late-'60s Miles Davis Quintet (despite Stanley Crouch's pronouncements in his typically absurd liner notes about Marsalis' individuality). The music is brilliantly played and displays what the "Young Lions" movement was really about: young musicians choosing to explore acoustic jazz and to extend the innovations of the pre-fusion modern mainstream style. Marsalis would develop his own sound a few years later, but even at age 23 he had few close competitors. Scott Yanow
Tracklist
1 Black Codes 9:27
2 For Wee Folks 9:05
3 Delfeayo's Dilemma 6:46
4 Phryzzinian Man 6:44
5 Aural Oasis 5:32
6 Chambers Of Tain 7:37
7 Blues 5:24
Credits
Bass – Charnett Moffett (tracks: 1, 2, 3, 4, 6, 7), Ron Carter (tracks: 5)
Drums – Jeff "Tain" Watts
Piano – Kenny Kirkland
Trumpet – Wynton Marsalis

WYNTON MARSALIS - J Moods (1986) APE (image+.cue), lossless

Wynton Marsalis pared his band down to a mere quartet for these sessions, which express a "J" mood that is alternately filled with melancholy or fired up with dogged determination. Either way, the passion of jazz and the individuality of Marsalis are present on this, one of his finest efforts. Pianist Marcus Roberts plays with an originality that goes beyond his more recognized interpretive style, while bassist Bob Hurst and drummer Jeff Watts are locked in tight and never let loose, no matter the tempo. The recording starts with the slow, pensive, and bluesy swing of the title track and "Presence That Lament Brings." The pretty ballad "Melodique" is one of the more beautiful muted trumpet constructs of Wynton's early career, while the lugubriously slow "After" is more difficult to play than most would suspect. The opposite end of the spectrum brings burners like the wild "Insane Asylum," featuring a positively charged and inspired Watts; the spirited signature Marsalis modal neo-bopper "Skain's Domain," which has Roberts and Hurst joined at the hip; and Watts on brushes exclusively stoking the fire of the hard bopper "Much Later." As heard on this solid recording from top to bottom, with a stance that expresses no middle range (it's either all or nothing), this group, with no other front-line horn and no brother Branford Marsalis, may have offered the then-young trumpeter one of the more bold challenges developing his individual voice. Michael G. Nastos
Tracklist :
1     J Mood 8'35
Wynton Marsalis
2     Presence That Lament Brings 5'53
Wynton Marsalis / Marcus Roberts
3     Insane Asylum 6'34
D. Brown / Wynton Marsalis
4     Skain's Domain 6'30
Wynton Marsalis
5     Melodique 4'32
Wynton Marsalis
6     After 6'10
Ellis Marsalis / Wynton Marsalis
7     Much Later 4'36
Wynton Marsalis
Credits :
Bass – Robert Leslie Hurst III
Drums – Jeff "Tain" Watts
Piano – Marcus Roberts
Trumpet – Wynton Marsalis

WYNTON MARSALIS | EASTMAN WIND ENSEMBLE | DONALD HUNSBERGER - Carnaval (1987) FLAC (tracks+.cue), lossless

Here, Wynton Marsalis switches to cornet and tries to recreate the ambience of the proverbial village wind bands of long ago -- albeit with the emphatically big-league help of Donald Hunsberger and the massive Eastman Wind Ensemble. This means a program of transcriptions of classical tunes, variations on popular ditties, dollops of sentimentality, heaping amounts of showoff display figurations, and other stuff that used to go over big in Middle America in the days before radio and electrical recording came in. From the hoary old hurdy-gurdy tune "The Carnival of Venice" that leads off the album onward, this is a record for dedicated antiquarians who dote on their Edison band cylinders because they like the music. But Marsalis works earnestly with the idea, playing those insidiously hummable tunes absolutely straight, with acres of flawless rapid-fire technical displays and even a touch of soulfulness on the token spiritual, "Sometimes I Feel Like a Motherless Child." And Marsalis' pass through the nonstop minefield of Paganini's Moto Perpetuoz, using circular breathing to make the dumbfounded listener think that he doesn't have to take a breath, is a pretty astounding technical feat. Richard S. Ginell  
Tracklist :
1    Variations Sur "Le Carnaval De Venise" 7'32
Written-By – Jean-Baptiste Arban
2    The Debutante (Caprice Brillant) 5'49
Written-By – Herbert L. Clarke
3    Believe Me, If All Those Endearing Young Charms 3'26
Written-By – Traditional Irish, Scottish Or English
4    Grand Russian Fantasia 6'19
Written-By – Jules Levy
5    Moto Perpetuo, Op. 11 4'31
Written-By – Niccolò Paganini
6    'Tis The Last Rose Of Summer 1'46
Written-By – Traditional Irish Melody
7    "The Flight Of The Bumblebee" (From Tsar Saltan) 1'03
Written-By – Nicolai Rimsky-Korsakov
8    Napoli - Variations On A Neapolitan Song 5'43
Other [Collated By] – Frank Simon
Written-By – Hermann Bellstedt
9    Fantaisie Brillante 8'16
Written-By – Jean-Baptiste Arban
10    Sometimes I Feel Like A Motherless Child 3'20
Written-By – Traditional Spiritual
11    Valse Brillante ("Sounds From The Hudson") 8'07
Written-By – Herbert L. Clarke
Credits :
Cornet – Wynton Marsalis
Directed By, Arranged By, Orchestrated By, Cadenza [Created By] – Donald Hunsberger
Ensemble – Eastman Wind Ensemble

WYNTON MARSALIS - Crescent City Christmas Card (1989) FLAC (tracks+.cue), lossless

Due to some of his statements, Wynton Marsalis gained the reputation of not having much of a sense of humor but the picture of him on this album (plus the music in general) dispelled that notion. Marsalis and his expanded septet (which welcomed such guests as clarinetist Alvin Batiste, baritonist Joe Temperley and, on one song apiece, singers Jon Hendricks and Kathleen Battle) clearly have a good time on this joyous and unpredictable set of holiday cheer. Scott Yanow
Tracklist :
1     Carol of the Bells 4'56
Mykola Leontovych / Traditional
2     Silent Night 4'47
Franz Gruber / Joseph Mohr
3     Hark! The Herald Angels Sing 3'09
Felix Mendelssohn / Charles Wesley
4     Little Drummer Boy 5'29
Katherine K. Davis / Henry Onerati / Henry Onorati / Harry Simeone
5     We the Three Kings 5'22
John Henry Hopkins, Jr.
6     Oh Tannenbaum 1'39
Traditional
7     Sleigh Ride 4'29
Leroy Anderson / Mitchell Parish
8     Let It Snow! Let It Snow! Let It Snow! 4'20
Sammy Cahn / Jule Styne
9     God Rest Ye Merry Gentlemen 5'43
Traditional
10     Winter Wonderland 2'55
Felix Bernard / Dick Smith
11     Jingle Bells 3'23
James Pierpont
12     O Come All Ye Faithful 1'37
Frederick Oakeley / John Reading / John Francis Wade
13     'Twas the Night Before Christmas 8'07
Clement Clarke Moore / Traditional
Credits :
Alto Saxophone – Wes Anderson (pistas: 1 To 8, 11, 13)
Bass – Reginald Veal (pistas: 1 To 5, 7, 8, 11, 13)
Bass Clarinet, Baritone Saxophone – Joe Temperley (pistas: 1 To 4, 8, 13)
Clarinet – Alvin Batiste (pistas: 1 To 4, 8, 13), Todd Williams (pistas: 9)
Drums – Ben Riley (pistas: 5, 7, 11, 10), Herlin Riley (pistas: 1 To 4, 8, 13)
Piano – Marcus Roberts (pistas: 1 To 4, 7, 8, 10 To 13)
Soprano Vocals – Kathleen Battle (pistas: 2)
Tenor Saxophone, Soprano Saxophone – Todd Williams (pistas: 1 To 8, 10, 11, 13)
Trombone – Wycliffe Gordon (pistas: 1 To 8, 11, 13)
Trumpet – Wynton Marsalis (pistas: 1 To 8, 10, 11, 13)
Vocals – Jon Hendricks (pistas: 7)

WYNTON MARSALIS QUARTET - Live at Blues Alley (1988) 2CD | FLAC (tracks+.cue), lossless

This double album features the great trumpeter Wynton Marsalis and his 1986 quartet, a unit featuring pianist Marcus Roberts, bassist Robert Hurst and drummer Jeff "Tain" Watts. Although Marsalis during this period still hinted strongly at Miles Davis, his own musical personality was starting to finally shine through. With the versatile Marcus Roberts (who thus far has been the most significant graduate from Marsalis's groups), Wynton Marsalis was beginning to explore older material, including on this set "Just Friends," and "Do You Know What It Means to Miss New Orleans?" other highlights include lengthy workouts on "Au Privave" and Kenny Kirkland's "Chambers of Tain." This two-fer is recommended, as are virtually all of Wynton Marsalis's recordings. Scott Yanow
Tracklist 1 :
1     Knozz-Moe-King 6'03
Wynton Marsalis        
2     Just Friends 8'22
John Klenner / Sam M. Lewis    
3     Knozz-Moe-King (Interlude) 3'52
Wynton Marsalis
4     Juan 7'33
Marcus Roberts / Jeff "Tain" Watts
5     Cherokee 2'50
Ray Noble
6     Delfeayo's Dilemma 9'20
Wynton Marsalis
7     Chambers of Tain 15 15'12
Kenny Kirkland
8     Juan (E Mustaad) 2'56
Marcus Roberts / Jeff "Tain" Watts
Tracklist 2 :
1     Au Privave 14'35
Charlie Parker
2     Knozz-Moe-King (Interlude) 2'38
Wynton Marsalis
3     Do You Know What It Means to Miss New Orleans? 11'30
Louis Alter / Eddie DeLange
4     Juan (Skip Mustaad) 3'15
Marcus Roberts / Jeff "Tain" Watts
5     Autumn Leaves 9'41
Joseph Kosma / Johnny Mercer / Jacques Prévert
6     Knozz-Moe-King (Interlude) 3'48
Wynton Marsalis
7     Skain's Domain 9'39
Wynton Marsalis
8     Much Later 6'15
Wynton Marsalis
Credits :
Bass – Robert Leslie Hurst III
Drums – Jeff "Tain" Watts
Piano – Marcus Roberts
Trumpet – Wynton Marsalis

WYNTON MARSALIS - The Majesty of the Blues (1989) APE (image+.cue), lossless

This is a good album that should have been great. Two lengthy originals ("The Majesty of the Blues" and "Hickory Dickory Dock") find Wynton Marsalis displaying his rapidly developing writing skills, which were being prodded at the time by Duke Ellington and Charles Mingus. His sextet with pianist Marcus Roberts, tenorman Todd Williams, and altoist Wes Anderson is in outstanding form on these performances. However, the three-part "New Orleans Function" has two fatal flaws. Marsalis returned to his New Orleans heritage by welcoming the erratic clarinetist Dr. Michael White, veteran banjoist Danny Barker, trombonist Freddie Lonzo, and trumpeter Teddy Riley as guests. Unfortunately, an endless "Sermon" about jazz, written by Stanley Crouch and narrated by Reverend Jeremiah Wright, Jr., drones on for 16 minutes and is unspeakably pompous, killing the momentum for the record. In addition, the closing Dixieland blues is led by the frequently faltering Teddy Riley (while Marsalis plays second trumpet) and is much too ragged to have been released. So, the main reason to acquire this album is for the first two pieces. by Scott Yanow  
Tracklist 
1    The Majesty Of The Blues (The Puheeman Strut)    15:06
2    Hickory Dickory Dock    9:07
The New Orleans Function
3    The Death Of Jazz 12:39
Banjo – Danny Barker
Clarinet – Dr. Michael White
Trombone – Freddie Lonzo
Trumpet [1st] – Teddy Riley
Trumpet [2nd], Other [Plunger Mute] – Wynton
4    Premature Autopsies (Sermon) 16:23
Banjo – Danny Barker
Clarinet – Dr. Michael White
Narrator [Sermon] – Reverend Jeremiah Wright, Jr.
Trombone – Freddie Lonzo
Trumpet [1st] – Teddy Riley
Trumpet [2nd], Other [Plunger mute] – Wynton
Written-By [Sermon] – Stanley Crouch
5    Oh, But On The Third Day (Happy Feet Blues) 6:45
Banjo – Danny Barker
Clarinet – Dr. Michael White
Trombone – Freddie Lonzo
Trumpet [1st] – Teddy Riley
Trumpet [2nd], Other [Plunger Mute] – Wynton
Credits :
Alto Saxophone [The Wynton Marsalis Sextet] – Wes Anderson
 Bass [The Wynton Marsalis Sextet] – Reginald Veal
Cover [Art] – Henri Matisse
Drums [The Wynton Marsalis Sextet] – Herlin Riley
 Ensemble – The Wynton Marsalis Sextet
Piano [The Wynton Marsalis Sextet] – Marcus Roberts
Tenor Saxophone, Soprano Saxophone [The Wynton Marsalis Sextet] – Todd Williams
Trumpet [The Wynton Marsalis Sextet] – Wynton Marsalis

WYNTON MARSALIS - The Original Soundtrack from "Tune in Tomorrow" (1990) FLAC (tracks+.cue), lossless

This soundtrack recording is very significant in the career of Wynton Marsalis. For the first time the trumpeter displayed a sound of his own; the Miles Davis influence was finally gone. In addition Marsalis not only debuted with his septet (which consisted of trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor, soprano and clarinet, pianist Marcus Roberts, bassist Reginald Veal and drummer Herlin Riley) but, in writing this score, Marsalis showed how talented an arranger he was; very much in the Duke Ellington tradition but without resorting to copying. The 16 selections are sometimes a bit fragmented (a few use extra personnel including clarinetist Michael White on six tracks and vocals by Shirley Horn and Johnny Adams) but they hold up very well apart from the movie and have plenty of spirit and humor. Scott Yanow
Tracklist :
1     Big Trouble in the Easy (Pedro Pops Up) 4'14
Composed By, Arranged By – Wynton Marsalis
Clarinet – Alvin Batiste, Dr. Michael White
2     Kings of the Garden District 0'43
Wynton Marsalis
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
Organ – Warren Bernhardt
3     Crescent City Crawl (On the St. Charles Streetcar Line) 6'26
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
Organ – Lucky Peterson
4     Alligator Tail Drag (Mr. Alligator - Why You So Mean?) 5'35
Clarinet – Alvin Batiste, Dr. Michael White
Composed By, Arranged By – Wynton Marsalis
5     May Be Fact or Fiction 2'23
Clarinet – Alvin Batiste, Dr. Michael White
Composed By, Arranged By – Wynton Marsalis
Vocals – Johnny Adams
6     Social Soft Shoe (Partying at Olga's) 3'35
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
7     Mama Leona (You Know You Not Spanish!) 2'38
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
8     I Can't Get Started 5'22
Arranged By – Wynton Marsalis
Clarinet – Alvin Batiste
Composed By – Ira Gershwin, Vernon Duke
Vocals – Shirley Horn    
9     The Grand Marshall (Martin's Big Break) 2'57
Clarinet – Dr. Michael White
Composed By, Arranged By – Wynton Marsalis
10     Ways of Love (Julia & Martin) 4'26
Arranged By [String] – Sonny Kompanek
Clarinet – Alvin Batiste
Composed By, Arranged By [exc. String] – Wynton Marsalis
Lyrics By – Joel Siegel
Vocals – Shirley Horn
11     On the Eve of Entry 3'42
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
12     Don't Run from Fun (Julia's Decision) 2'11
Clarinet – Alvin Batiste
Composed By, Arranged By – Wynton Marsalis
13     Albanians (Why Us?) 0'32
Alto Saxophone – Harvey Estrin
Arranged By – Sonny Kompanek
Composed By – Wynton Marsalis
14     Sunsettin' on the Bayou (Toonin' Tonight) /1. Dusk on the Delta/2. ... 5'08
Clarinet – Dr. Michael White
Composed By, Arranged By – Wynton Marsalis    
15     The Ways of Love (Julia & Martin) 4'12
Arranged By [String] – Sonny Kompanek
Clarinet – Alvin Batiste
Composed By, Arranged By [exc. String] – Wynton Marsalis
Lyrics By – Joel Siegel
Vocals – Shirley Horn
16     Double Rondo on the River (Pedro's Getaway) 9'25
Clarinet – Alvin Batiste, Dr. Michael White
Composed By, Arranged By – Wynton Marsalis

WYNTON MARSALIS SEPTET - Blue Interlude (1976) APE (image+.cue), lossless

With Wynton Marsalis, exuberance, energy and high-level musicianship is never an issue, but long-windedness can be. This may be one of the best of the trumpeter's mid-sized ensembles, a septet, with pianist Marcus Roberts, trombonist Wycliffe Gordon, saxophonists Wessell Anderson and Todd Williams, bassist Reginald Veal, and drummer Herlin Riley. It is also to the credit of Marsalis that he allows solid group interplay, and much room for his sidemen to not only stretch, but to also include their written works in the repertoire. The problem is for the listener, as the bulk of this material lays in long form, and is more a test for the band's stamina than the pleasure of the beholder. It works in concert, but not on the radio or at home. The 37-plus-minute title track, a grandiose treatise on bittersweet romance, is the most egregious with lengthy solos, tight but verbose ensemble sections, up-and-down dynamics, and rhythmic variations. "The Jubilee Suite" is only 12 minutes, and much more concise, echoing anthemic clarion calls, a hip modern New Orleans groove, and features for the clarinet of Williams and Marsalis. "And the Band Played On" is a processional march, and "Brother Veal" exudes a warm feeling marinated in easy swing, with the clarinet of Williams again a focal point. The last piece, "Sometimes It Goes Like That," is the most complex melody, using the typical variable tempo and melodic devices that make a Marsalis jazz tune fairly recognizable. The cover art and title might indicate this was a blue interlude in the personal life of Marsalis translated into music (and words on the indulgent "Monologue" prelude to the title cut) and self-consciously rendered. It's fine music, but not particularly unique or original. Michael G. Nastos
Tracklist :
1. Brother Veal (3:23)
2. Monologue For Sugar Cane And Sweetie Pie (5:56)
3. Blue Interlude (The Bittersweet Saga Of Sugar Cane And Sweetie Pie) (37:15)
4. And The Band Played On (5:23)
5. The Jubilee Suite (12:20)
6. Sometimes It Goes Like That (7:12)
Credits :
Wynton Marsalis - Trumpet, Piano (2)
Marcus Roberts - Piano
Wesseli Anderson - Alto Sax
Todd Williams - Sax Tenor, Soprano, Clarinet
Wycliffe Gordon - Trombone
Reginald Veal - Bass
Herlin Riley - Drums

THE LINCOLN CENTER JAZZ ORCHESTRA WITH WYNTON MARSALIS - Big Train (1999) APE (image+.cue), lossless

On 1999's Big Train, Marsalis tries on the mantle of Duke Ellington in the latter's centennial year and finds that it suits him. A 52-minute big band suite modeled after Ellington's long-form essays, it purports to evoke the moods, sounds and feelings of a cross-country train trip with selections named after a train's various cars. Like an Ellington suite, the sections run together; after the striking "All Aboard," you're in Ellington country, right down to the plunger mute wah-wah riffs. "Union Pacific" paraphrases "Rockin' in Rhythm"; the ballad "Sleeper Car" evokes Johnny Hodges and Tricky Sam Nanton quite explicitly. Inevitably, there's a track called "Night Train"; thankfully, its bossa nova flavor has nothing to do with Duke's piece. Marsalis has mastered the Ellington idiom, writing and organizing the piece skillfully and getting the Lincoln Center Jazz Orchestra to play with precision and emotion. Yet the one thing that Ellington (and Billy Strayhorn) could do and Marsalis has yet to demonstrate is the ability to come up with a big, memorable tune; there's craft, emotion, and swing, but little else to take home with you. If you didn't know that this work was about trains, you might not guess it; you can't really feel the rocking, chugging, streamlined motion of the rails in this work. There is fine soloing all around in the hard bop tradition from Wessell Anderson, Victor Goines, Wycliffe Gordon, Ted Nash and Walter Blanding, Jr., though the liner fails to note which of the multiple tenor, alto, trombone players are soloing on which tracks. But overall, this is one of Marsalis' better extended form essays. Richard S. Ginell
Tracklist :
1    All Aboard    5:48
2    Observation Car    5:05
3    Union Pacific Big Bay    5:53
4    Smokestack Shuffle    5:08
5    Northbound-Southbound    2:51
6    Dining Car    2:23
7    Night Train    2:24
8    Engine    6:39
9    Bullet Train    3:51
10    Sleeper Car    3:35
11    Station Call    2:04
12    The Caboose    7:08
Credits :
Alto Saxophone, Sopranino Saxophone, Clarinet – Wessel Anderson
Alto Saxophone, Soprano Saxophone, Tenor Saxophone, Clarinet – Walter Blanding Jr.
Alto Saxophone, Soprano Saxophone, Tenor Saxophone, Clarinet, Bass Clarinet – Victor Goines
Bass – Rodney Whitaker
Drums – Herlin Riley
Guitar, Banjo – Doug Wamble
Percussion – Roland Guerrero
Piano – Farid Barron
Producer – Delfeayo Marsalis
Soprano Saxophone, Alto Saxophone, Piccolo Flute, Clarinet, Bass Clarinet, Flute – Ted Nash
Soprano Saxophone, Baritone Saxophone, Bass Clarinet – Joe Temperley
Trombone – Ronald Westray, Wayne Goodman
Trombone, Tuba – Wycliffe Gordon
Trumpet – Marcus Printup, Riley Mullins, Ryan Kisor, Seneca Black, Wynton Marsalis

WYNTON MARSALIS SEPTET - Citi Movement (1992) 2CD | FLAC (tracks+.cue), lossless

This double CD contains Wynton Marsalis' score for the modern ballet Griot New York. Even more than his trumpet playing, his writing skills had developed quickly during the five years prior to this set. Marsalis' superb septet (including trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor and soprano, pianist Eric Reed, bassist Reginald Veal, and drummer Herlin Riley) performs the complex and consistently colorful music, which goes through a wide variety of styles (including New Orleans jazz, swing, bop, modal music, and even some sections bordering on the avant-garde). The results are unpredictable, exciting, and quite enjoyable. This is one of Wynton Marsalis' finest recordings to date. Scott Yanow
Tracklist 1 :
1     Hustle Bustle 4'36
Wynton Marsalis
2     City Beat 10'21
Wynton Marsalis
3     Daylight Dinosaurs 3'35
Wynton Marsalis
4     Down the Avenue 4'44
Wynton Marsalis
5     Stop and Go 5'31
Wynton Marsalis
6     Nightlife-Highlife (Yas, Yas) 6'07
Wynton Marsalis
7     How Long? 1'05
Wynton Marsalis
8     I See the Light 1'34
Wynton Marsalis
9     I See the Light 2'10
Wynton Marsalis
10     Duway Dialogue 0'40
Wynton Marsalis
11     Dark Heart Beat 8'17
Wynton Marsalis
12     Cross Court Capers 5'37
Wynton Marsalis
13     Bayou Baroque 4'13
Wynton Marsalis
14     Marthaniel 8'16
Wynton Marsalis
15     Spring Yaoundé 6'00
Wynton Marsalis
Tracklist 2 :
1     The End 3'04
Wynton Marsalis
2     The Legend of Buddy Bolden 4'43
Wynton Marsalis
3     Swingdown, Swingtown 8'59
Wynton Marsalis
4     Highrise Riff (1, 2, 3, 4) 7'04
Wynton Marsalis
5     Modern Vistas (As Far as the Eye Can See) 17'19
Wynton Marsalis
6     Curtain Call 8'49
Wynton Marsalis
Credits :
Alto Saxophone – Wes Anderson
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Eric Reed
Producer – Delfeayo Marsalis
Tenor Saxophone, Soprano Saxophone – Todd Williams
Trombone – Wycliffe Gordon
Arranged By, Art Direction, Trumpet – Wynton Marsalis

JAZZ AT LINCOLN CENTER - They Came To Swing (1994) FLAC (tracks+.cue), lossless

Tracklist :
1     Take the "A" Train 5'34
Billy Strayhorn
2     Black and Tan Fantasy 4'47
Duke Ellington / Bubber Miley
3     Express Crossing (Astride Iron Horses) 5'08
Wynton Marsalis
4     Light Blue 7'14
Thelonious Monk
5    Jelly, Jelly 5'46
Billy Eckstine / Earl Hines / Trade Martin
6     Things to Come 4'33
Gil Fuller / Dizzy Gillespie
7     Boy Meets Horn 5'40
Duke Ellington / Rex Stewart
8     Lost in Loveliness 3'10
Leo Robin / Sigmund Romberg
9     Back to Basics 10'17
Wynton Marsalis
10     The Tattooed Bride 11'54
Duke Ellington
Credits :
Alto Saxophone – Wes Anderson
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Eric Reed
Producer – Delfeayo Marsalis
Tenor Saxophone, Soprano Saxophone – Todd Williams
Trombone – Wycliffe Gordon
Arranged By, Art Direction, Trumpet – Wynton Marsalis

WYNTON MARSALIS - Thick in the South : Soul Gestures in Southern Bles, Vol.1 (1988) FLAC (image+.cue), lossless

Wynton Marsalis' three-part Soul Gestures in Southern Blue (of which this CD is the final section) is a disappointment. None of the themes are particularly memorable and, although the individual solos are fine, not much really happens; overall it is a rather weird tribute to the blues. Actually, the main significance to this particular set is that the trumpeter had for the first time put together the nucleus to his septet. Although there was no trombonist yet, altoist Wessell Anderson, tenor saxophonist Todd Williams, bassist Reginald Veal, and drummer Herlin Riley were already in place while pianist Marcus Roberts was still a part of Marsalis' group. But musically this trilogy can be bypassed; get his more. Scott Yanow
Tracklist :
1     Harriet Tubman
Wynton Marsalis
2     Elveen 12'13
Wynton Marsalis
3     Thick in the South 10'15
Wynton Marsalis
4     So This Is Jazz, Huh? 12'26
Wynton Marsalis
5     L.C. on the Cut 13'28
Wynton Marsalis
Credits :
Bass – Bob Hurst
Drums – Elvin Jones (pistas: 2, 5), Jeff Watts
Piano – Marcus Roberts
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis

WYNTON MARSALIS - Uptown Ruler : Soul Gestures in Southern Blue, Vol. 2 (1991) FLAC (tracks+.cue), lossless

The second of the three-part Soul Gestures in Southern Blue finds Wynton Marsalis at a transitional spot in his career. While his pianist Marcus Roberts had largely found his own style, the trumpeter was still searching and had not yet thrown off the dominant Miles Davis influence. This quintet outing (which also features the tenor of Todd Williams, bassist Reginald Veal, and drummer Herlin Riley) lacks any memorable melodies, although the playing is fine. But overall, the music is much more forgettable than Stanley Crouch's rather incredible liner notes. This CD can be safely passed by in favor of Marsalis' more recent projects. Scott Yanow
Tracklist :
1     Psalm 26 1'29
Wynton Marsalis
2     Uptown Ruler 11'11
Wynton Marsalis
3     The Truth Is Spoken Here 6'50
Marcus Roberts
4     The Burglar 8'38
Todd Williams
5     Prayer 6'26
Wynton Marsalis
6     Harmonique 4'53
Wynton Marsalis
7     Down Home with Homey 11'56
Wynton Marsalis
8     Psalm 26 1'36
Wynton Marsalis
Credits :
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Marcus Roberts
Saxophone – Todd Williams
Trumpet – Wynton Marsalis

WYNTON MARSALIS - Levee Low Moan : Soul Gestures in Southern Blue, Vol. 3 (1991) APE (image+.cue), lossless

Wynton Marsalis' three-part Soul Gestures in Southern Blue (of which this CD is the final section) is a disappointment. None of the themes are particularly memorable and, although the individual solos are fine, not much really happens; overall it is a rather weird tribute to the blues. Actually, the main significance to this particular set is that the trumpeter had for the first time put together the nucleus to his septet. Although there was no trombonist yet, altoist Wessell Anderson, tenor saxophonist Todd Williams, bassist Reginald Veal, and drummer Herlin Riley were already in place while pianist Marcus Roberts was still a part of Marsalis' group. But musically this trilogy can be bypassed; get his more. Scott Yanow
Tracklist :
1     Levee Low Moan 11'14
Wynton Marsalis
2     Jig's Jig 8'49
Wynton Marsalis
3     So This Is Jazz, Huh? 6'59
Wynton Marsalis
4     In the House of Williams 10'05
Todd Williams
5     Superb Starling 11'37
Wynton Marsalis
Credits :
Bass – Reginald Veal
Drums – Herlin Riley
Piano – Marcus Roberts
Saxophone – Todd Williams, Wessell Anderson
Trumpet – Wynton Marsalis