Wynton Marsalis: Jazz Ambassador

Wynton Marsalis (trumpet; b. 1961)

Wynton Marsalis has been hailed as the "keeper of the flame" for jazz for the last 3 decades. While some might argue that point, there is no denying his masterful talent to shift from his New Orleans jazz, ragtime, & blues roots to more traditional bebop in an instant; his talent is unquestionable.

Wynton's career really took off (as so many others did) while playing with Art Blakey's Jazz Messengers. He quickly became a prominent figure in the collective. Wynton would later sign a deal with Columbia Records and was soon on the trajectory for over 25 albums as leader (including classical recordings) and numerous others as a guest musician.

So where does one begin if you really want to hear what all the hoopla is about? I would highly recommend Popular Songs: The Best Of Wynton Marsalis (Columbia/Legacy). While not covering every album it does give a decent representation of Wynton's best recordings including what I would call a future standard "Black Codes." This a great way to sample Wynton's talent and also a nice introduction if you decide to go further. So now you have wonderful guide map.

After this I would suggest J Mood (Columbia Records) and go from there.

Cherokee (Live): http://www.youtube.com/watch?v=9OtZrIjQuwA

Quincy Jones — The Split (1968)

Before he became the platinum producer for the likes of Michael Jackson, Quincy Jones was an ace film scorer, best known for his work on In the Heat of the Night and They Call Me Mr. Tibbs among other Sidney Poitier vehicles. Many of his best scores have been available on LP or CD for many years, but The Split ('68) has been noticeably absent — until now.

The Split is loosely based on The Seventh, a crime novel by Richard Stark (a non de plume for the late great Donald Westlake). The novel's antihero, Parker, has been renamed McClain, and is played by football legend Jim Brown. The Split is just one of several movies based on Stark/Westlake's work, and Jones is the only composer to score films featuring two Westlake characters, namely Parker and Dortmunder (The Hot Rock, '72).

There are a handful of decent but dated vocal numbers, sung by Billy Preston (alone and with Clydie King), Arthur Prysock, Sheh Wooley and John Wesley), but the real draw is Jones' riveting jazz funk underscore, which is stylistically similar to Jones' score for The Lost Man, which came out around the same time.

Raspy, muted brass jostle with soul jazz organ, electric piano and bluesy electric guitar figures over restless percussion and rumbling bass lines. Occasionally, Jones' semi-abstract compositions and textural arrangements open up to let inquisitive flutes and skeptical strings into the mix.

As usual, Film Score Monthly delivers the full score with alternate bonus tracks and in-depth, copiously illustrated notes. The Split is a must-have for crime jazz fans and the perfect soundtrack for reading Stark/Westlake crime novels.

This review was previously published at the author's soundtrack review site www.ScoreBaby.com.

Louis Smith: Here's Comes A Legend

Louis Smith (trumpet; b. 1931)

When someone tells you "You gotta buy this album", do you really believe them? Do you really buy it? Well this time we mean it.

Here Comes Louis Smith (Blue Note; 1957) is that record that you have to own. It is a brilliant debut that featured a number high flying artists; Cannonball Adderley (Sax), Duke Jordan and Tommy Flanagan (piano), Doug Watkins (bass) and the great Art Taylor (drums).

This isn't one of those milestone recordings like Kind Of Blue or Blue Train but it is one of those blistering sessions that even if you're not a huge jazz lover you will appreciate it the veracity of performances. If you haven't experienced a live jazz show this is an album that will give you the best idea of how it would feel.

Louis Smith's style was similar to another more famous hard bop trumpeter, Clifford Brown--for whom Smith included the piece "Tribute To Brownie" on this release. After this debut, Louis Smith went on to record one more album for Blue Note entitled Smithville. He then became a university professor. He returned to recording and performing in 1978. His subsequent releases actually feel like he never missed a beat but Here Comes Louis Smith remains his defining moment. The album is still available physically and for download. Highly recommended.

"Ande" (audio clip from youtube): http://www.youtube.com/watch?v=16uvtyrLUzs

John Zorn — O'o (2009)

Full disclosure: I've fallen behind on the work of John Zorn — way behind. Let's face it, the guy is prolific, and often quite challenging. Now, don't get me wrong. I enjoy my fair share of "difficult listening" (thank you, Laurie Anderson), but when you're talking about an artist as uncompromising as Zorn you approach with caution. (I mean really, stuff like Cobra is easier to respect than listen to.)

So, I've fallen out of touch with Zorn. Maybe I'm still miffed that he didn't grant me an interview for my soundtrack book (he even cold-called me to learn more about the project — talk about getting my hopes up). Most of my Zorn collection dates from the '80s (Naked City, News for Lulu, The Big Gundown, etc.) Then, last week, I stumble onto O'o, reading that it's an exotica record (and I'm a big fan of Baxter, Denny, et al). Naturally, I needed to check it out.

O'o — it turns out — is sort of a sequel to another Zorn album, The Dreamers (2008), which was sort of a sequel to The Gift (2001) — both of which I hadn't yet heard when I listened to O'o. All three of these albums have been characterized as Zorn's most accessible work, and what they all have in common is Zorn's appreciation for exotica, surf, Latin jazz and film music. They also share several of the same musicians: guitarist Marc Ribot, keyboardist Jamie Saft, drummer Joey Baron, bassist Trevor Dunn, and percussionist Cyro Baptista, and vibe man Kenny Wollesen. Zorn acts as arranger, conductor and producer (but leaves his alto sax out of the mix). The ensemble works every groove without showboating or grandstanding, while still demonstrating exemplary chops. The restraint is admirable. They're simply there to serve the music, which breaks no new ground, but avoids cliches.

The moods on O'o range from lively to dreamy, with no jarring digressions along the way. Given Zorn's penchant for frantic fragmentary style-jumping it is pleasantly surprising to hear him work in a straight-forward manner, letting the music work its magic without virtuoso technique and avant-garde concepts. You can imagine cruising down a coastal highway, wind in your hair, without a care in the world — for someone who has always associated Zorn with big concept projects it's refreshing to hear him embrace melody and rhythm in such an organic way.

Buy it.