Branford Marsalis: Steep Tradition

Branford Marsalis (saxophone; b. 1960)

Branford Marsalis is the oldest brother of the very famous Marsalis musical family. He has built his impeccable catalog of recordings in pop, rock, classical, hip-hop, film and university teaching. He and his quartet also had a brief stint on television as Jay Leno's house band on The Tonight Show when Jay first took over from Johnny Carson. But at the end of the day Branford Marsalis is and will always be a jazz musician. Not just a jazz musician but one of the leading, most respected, innovative and versatile of his generation.

Branford came to prominence in Art Blakey's Jazz Messengers along with brother Wynton. He also performed and recorded with the likes of Miles Davis, Herbie Hancock, Dizzy Gillespie and Sonny Rollins. His first debut as leader was Scenes In The City (Columbia Records, 1983). Scenes definitely shows Branford's growth as a musician. He would continue to carve out his own direction and identity through a series of phenomenal albums including Royal Garden Blues, Random Abstract, Trio Jeppy, The Beautiful Ones Are Not Yet Born and The Dark Keys.

Branford during this time would also perform with Sting and The Grateful Dead on the pop and rock side, and record soundtracks for Mo Better Blues and Sneakers. He also followed in his brother's footsteps by recording a number of classical releases, including another favorite of mine, Orpheus Chamber Orchestra entitled Creation. A full and diverse musical resume to say the least. In the late '90s Branford started his own label simply called Marsalis Music to develop various projects for himself and other artists (including Harry Connick Jr.).

One of my favourite albums of recent years is his most recent, Metamorphosen (Marsalis Music). Metamorphosen is a return to form of his earlier records--vibrant and rich in melody and invention. Tracks like "The Return Of The Jitney Man," "Jabberwocky," and "Samo" all have the tradmark Branford wit and composed brilliance that has set him apart from the rest of his generation of saxophone players.

With a catalog that includes over a dozen albums, you may be wondering were to start. The best place would be the very well crafted compilation The Steep Anthology (Columbia). The Steep Anthology covers a good selection of his best jazz albums from his years with Columbia. Highlighting some important and outstanding Branford staples; "Doctone," "Royal Garden Blues," "Spartacus," and "The Dark Keys"--it's a great overview of his playing style from cool and collected bop to more complicated melodic rhythms. Well worth the purchase and it will definitely put you in the right direction for finding which album to buy next.

One of the greatest jazz musicians of the last 25 years, Branford Marsalis will certainly will be mentioned in the same pantheon as legendary saxophonists, Coltrane, Hawkins, Rollins and Gordon in the next 25 years.

Kenny Kirkland

Kenny Kirkland (piano; b. 1955 - d. 1998)

Unfortunately known mostly as a session man (mainly with Wynton Marsalis and then Branford Marsalis' bands), Kenny Krikland was one of the most sought after pianist of the 80s and 90s. Highly regarded for adding a big dynamic to the aforementioned groups, Kirkland was influence by fellow piansts, Herbie Hancock, Kenny Barron and saxophonist Wayne Shorter. Kirkland got his start in the mid-seventies playing with jazz violinist, Michael Urbaniak and then later with ex Weather Report bassist, Miroslav Vitous.

Kenny Kirkland began playing with Wynton from '81-'85 providing providing many exquisite moments to Wynton's earliest recording (including Wynton's self titled debut and the classic Black Codes). Kirkland left Wynton's band to join former Police lead singer, Sting on touring and for the recording of Sting's first solo record, The Dream of Blue Turtles. The band also included Wynton's older brother Branford. While his association with Sting was brief it obviously raised his profile immensely. Kirkland and Branford both left the band shortly after a massive world tour in support of the release.

Returning back to the jazz scene, Kirkland would join Branford Marsalis permanently from '86 onward. The miraculous and unbelievable thing is Kirkland after all these years had never recorded an album as leader. It wasn't until 1991 that Kirkland would release, Kenny Kirkland (GRP Records). While long in coming it was a fantastic and beautiful album featuring mixture of self penned numbers and covers (Thelonious Monk, Ornette Coleman and Wayne Shorter). The album starts with the formidable "Mr. J.C." with some great work from Branford (sax), Charnett Moffett (bass) and Jeff "Tain" Watts (drums). The albums was a supergroup of nineties jazz talent; in addition to the aforementioned, Christian McBride (drums), Jerry Gonzalez (percussion), Steve Berrios (drums), Andy Gonzalez (bass), Don Alias (percussion), Roderick Ward (sax) and Robert Hurst (bass) all featured on selected tracks.

Another track "Chance", a trio piece with McBride and "Tain" displays the tonal beauty of Kirkland on the piano. Kirkland also tackles the Monk standard, "Criss Cross" with some interesting Latin arrangements that works surprisingly well if at first seems a little jarring. The album does cover a lot of ground, mixing different themes (bop, straight ahead contemporary and Latin) but it does show the breathe and depth of Kirkland's thinking.

This wonderful debut would be Kirkland's only album. He would continue to do session work and playing in Branford Marsalis' band throughout the nineties. In the winter of 1996 Kirkland was found dead in his apartment in New York. It was a devastating blow for the jazz community. Branford would later record and dedicate the album Requiem in Kirkland's honor. Kenny Kirkland was an amazing young talent who was only beginning to come into the peak of his power but his self-titled debut is well worth seeking out as a document of what he provided jazz history.

Bruce Barth

Bruce Barth (piano; b. 1955)

Very accomplished yet unassuming Bruce Barth has developed out a reflective post bop style that is bold as it is subtle. You really get this feeling more when you see him live. Bruce Barth is technically brilliant and highly effective with his compositions and interpretations. I have enjoyed his music for years now. Bruce Barth is one of those under-rated musicians of his generation. If someone doesn't tell you about him or you don't stumble across a live show in your city you may never know about him.

I first discovered him at a live show at the now legendary Smoke Jazz Club in New York City about seven years ago (maybe) not actually realizing years later that I actually met him once with Terence Blanchard as he was the primary piano player in Terrance's band during the early nineties (he also performed on a number soundtracks that Terence scored including Malcolm X). Bruce Barth has recorded 10 albums (and one DVD) as leader. All are quite rewarding and possibly owe a good deal to Chick Corea, Herbie Hancock and than Thelonious Monk and Duke Ellington (although Monk composition appear on quite a few albums).

In addition to working in Terrance Blanchard's band, Barth has also worked with Branford Marsalis, Wynton Marsalis, Joshua Redman, Tony Bennett, Karrin Allyson and Roy Hargrove to name a few. The years of work in Blanchard's group serve Barth well on his first few recordings including Morning Call (Enja), his second album as leader. This is highlighted by a great sextet including Leon Parker (drums), Steve Wilson (sax), Scott Wendholt (trumpet) and Larry Grenadier (bass). Morning Call is awash of Barth originals that show sophistication and beauty that I fell in love with after one listen.

Another standout album for me is the 2002 recording, Live At The Village Vanguard (MaxJazz) which is solid live recording (and the most widely available) mixed with spirited originals and elegant standards. A romantic yet smokin' live session that makes you feel like you're right there in the audience. It jumps, grooves and floats that you almost forget that its only a trio performing on the date.

Bruce Barth's latest album, Home (We'll Always Swing Music) is a live album with longtime colaborator Steve Wilson on saxophone. Home is an intimate performance and you can immediately tell that the two musicians have played with each other for years (since 1987). They are performing in front of just over 60 people at the home of a jazz supporter of the organization We'll Always Swing. Harmonically it might be two instruments but their interplay is so beautiful it sounds like one person. Barth again has written most of material for this evening including the compelling "The Ways Of The West" and rigorous "Blues Interruptus" which highlight Barth's considerable strengths as composer. There are only two standards played during this date, "All Through The Night" and "Sweet And Lovely". Both magnificently done and played with a loose combination of adventure and poetry. Home serves as an nice and long overdue follow up to Live At The Village Vanguard but I'm glad it's arrived.

I have a feeling many of you may not have heard Bruce Barth so I'm hoping I've convinced some of you that he is worth a listen. A good amount of his albums are available for download so that might be the best way to find him. He doesn't tour that often but if you should lookout for his name on the bill at your local jazz club. When he does show up--go. You won't regret it.

Dizzy Gillespie: Why He's Important

John Birks "Dizzy" Gillespie (trumpet; b. 1917 - d. 1993)

Diz's legacy and contribution is felt with almost every musician that performs jazz. Diz, along with Charlie Parker, single-handedly created bebop. But Diz is also responsible for his perfect integration of Latin influences upon jazz. He was the quintessential band leader - always ready to teach and pass on his knowledge to younger musicians. So much so that you can hear the influence on many of Miles Davis early recordings.

Born in South Carolina, Diz taught himself trumpet and trombone in his teens. He paid his dues performing early in bands led by Cab Calloway, Earl Hines, Woody Herman and Teddy Hill. Shortly after, he formed the legendary partnership with Charlie Parker in the 40s and recorded a string of classic albums including one of my all-time favourite jazz albums, Jazz At Massey Hall (Debut Records). During this time he would also introduce audiences to latin percussion during his live performances as heard famously on "A Night In Tunisia". Many of Diz's early recordings are now standards that even the non-jazz fans would recognize at first listen including "Salt Peanuts" "Manteca" and the aforementioned "A Night In Tunisia".

A proficient and vibrant player, Diz always had fun on stage in front his audience. Dizzy Gillespie was a technical genius when it came to his music. Unlike many of his contemporaries, he wrote and practiced every note. This, along with his showmanship, are the reasons why he is so important to the growth and explosion of bebop. Live shows were probably the best way to experience the legend.

Some of you may have seen photos of Dizzy with what looks like a upturned trumpet. Most jazz fans known the story, but I'm writing this for those who don't know. One night before a club performance, a dancer triped on it and mangled it. The trumpet still worked and Diz decided to play it anyway. This iconic image is the way most people picture Diz to this day.

There are quite a few individual albums that I could recommend but if you really just want to condense things down you should go head first into Dizzy Diamonds (Verve). Dizzy Diamonds is a three disc set that is broken into "Big Bands", "Small Groups" and "Afro-Cuban". It pretty much covers all you, the new listener, would need.

For those of you who want to seek out more, I would highly suggest digging into some individual albums such as Diz & Bird, The Modern Sextet, Diz & Stan Getz, Sonny Side Up, Birks Works, The Copenhagen Concert and Jazz At Massey Hall for more well rounded experience. Dizzy's legacy lifes on in trumpet players like Roy Hargrove, Wynton Marsalis and Nicholas Payton but none of them will exude the excitement that he did for his craft--one that makes jazz a truly unique art form.