The most famous jazz musician since 1980, Wynton Marsalis made a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and... [+] Read More

The most famous jazz musician since 1980, Wynton Marsalis made a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players. There had been a major shortage of new trumpeters since 1970, but Marsalis' sudden prominence inspired an entire new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis' Quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis' late acoustic work as their starting point.

During his career, Wynton Marsalis has managed to be a controversial figure despite his obvious abilities. His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch, and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove, have been directly helped by Marsalis.

Wynton Marsalis' trumpet playing has been both overcriticized and (at least early on) overpraised. When he first arrived on the scene with the Jazz Messengers, his original inspiration was Freddie Hubbard. However, by the time he began leading his own group, Marsalis often sounded very close to Miles Davis (particularly when holding a long tone), although a version of Davis with virtuosic technique. He was so widely praised by the jazz press at the time (due to their relief that the future of jazz finally seemed safe) that there was an inevitable backlash. Marsalis' sometimes inaccurate statements about jazz of the 1970s and the avant-garde in general made some observers angry, and his rather derivative tone at the time made it seem as if there was always going to have to be an asterisk by his name when evaluating his talents. Some listeners formed permanent impressions of Marsalis as a Miles Davis imitator, but they failed to take into account that he was still improving and developing. With the 1990 recording Tune in Tomorrow, Marsalis at last sounded like himself. He had found his own voice by exploring earlier styles of jazz (such as Louis Armstrong's playing), mastering the wah-wah mute, and studying Duke Ellington. From that point on, even when playing a Miles Davis standard, Marsalis has had his own sound and has finally taken his place as one of jazz's greats.

The son of pianist Ellis Marsalis, the younger brother of Branford and the older brother of Delfeayo and Jason (the Marsalis clan as a whole can be accurately called "The First Family of Jazz"), Wynton (who was named after pianist Wynton Kelly) received his first trumpet at age six from Ellis' employer Al Hirt. He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school. He went to Juilliard when he was 18 and in 1980 he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers.

By 1981, the young trumpeter was the talk of the jazz world. He toured with Herbie Hancock (a double-LP resulted), continued working with Blakey, signed with Columbia, and recorded his first album as a leader. In 1982, Marsalis not only formed his own quintet (featuring brother Branford and soon Kenny Kirkland, Charnett Moffett, and Jeff "Tain" Watts) but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time. His quintet with Branford lasted until late 1985, although a rift developed between the brothers (fortunately temporary) when Branford finally quit the band to tour with Sting's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls.

Marsalis' next group featured pianist Marcus Roberts, bassist Robert Hurst, and drummer Watts. Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor, bassist Reginald Veal, drummer Herlin Riley, and (by the early '90s) pianist Eric Reed. Marsalis really developed his writing during this era (being influenced by Duke Ellington) and the septet proved to be a perfect outlet for his arranging. Although Wynton Marsalis broke up the band by 1995, many of the musicians still appear in his special projects or with the Lincoln Center Jazz Orchestra.

In 1997, Marsalis' marathon Blood on the Fields (which was released as a three-CD set) became the first jazz-based work to win a Pulitzer Prize. Standard Time, Vol. 5: The Midnight Blues followed a year later. With the passing of so many jazz giants, Wynton Marsalis' importance (as a trumpeter, leader, writer, and spokesman for jazz) continued to grow. Standard Time, Vol. 4: Marsalis Plays Monk followed in 1999 to coincide with the popular PBS special. Then, as if eight proper recordings in 1999 wasn't enough, Columbia and Marsalis released an amazingly affordable seven-disc set entitled Live at the Villiage Vanguard. Mid-2000 saw the release of Marciac Suite and Goin' Down Home. Two years later, Marsalis celebrated the blues on All Rise. Next up was his first album for Blue Note, The Magic Hour, an album of original material released early in 2004. Later that year, the label released Unforgivable Blackness: The Rise and Fall of Jack Johnson, Marsalis' soundtrack to a Ken Burns documentary. ~ Scott Yanow, All Music Guide [-] Hide

The oldest of the four musical Marsalis brothers, Branford Marsalis has had an impressive career. After studying at Southern University and Berklee, Branford toured Europe with the Art Blakey big band in the summer of 1980 (playing baritone), played three months with Clark Terry, and then spent five months playing alto with Art Blakey's Jazz... [+] Read More

The oldest of the four musical Marsalis brothers, Branford Marsalis has had an impressive career. After studying at Southern University and Berklee, Branford toured Europe with the Art Blakey big band in the summer of 1980 (playing baritone), played three months with Clark Terry, and then spent five months playing alto with Art Blakey's Jazz Messengers (1981). He mostly played tenor and soprano while with Wynton Marsalis' influential group (1982-1985), at first sounding most influenced by Wayne Shorter but leaning more toward John Coltrane at the end. The musical telepathy between the two brothers (who helped to revive the sound of the mid-'60s Miles Davis Quintet) was sometimes astounding. Branford toured with Herbie Hancock's V.S.O.P. II. in 1983 and recorded with Miles Davis (1984's Decoy). In 1985, when he left Wynton to join Sting's pop/rock group, it caused a major (if temporary) rift with his brother that made headlines. Marsalis enjoyed playing with Sting but did not let the association cause him to forget his musical priorities. By 1986, he was leading his own group which eventually consisted of pianist Kenny Kirkland, bassist Bob Hurst, and drummer Jeff "Tain" Watts; sometimes the band was a piano-less trio that really allowed Marsalis to stretch out. After a couple of film appearances (in School Daze and Throw Mama From the Train), Branford Marsalis became even more of a celebrity when he joined Jay Leno's Tonight Show as the musical director in 1992. However, being cast in the role of Leno's sidekick rubbed against Marsalis' temperament and after two years he had had enough. Branford Marsalis, who attempted to mix together hip-hop and jazz in his erratic Buckshot LeFonque project, has recorded steadily for Columbia ever since 1983 (including a classical set). In 2002, having left Columbia, Marsalis formed his own label Marsalis Music. Intended as a true independent label focused on supporting the developement of musicians, Marsalis Music has released albums by such diverse artists as guitarist/vocalist Doug Wamble, pianist/vocalist Harry Connick, Jr., saxophonist Miguel Zenon and others. Marslis himself has also kept busy releasing a handful of albums on the label including Footsteps Of Our Fathers which featured his take on the classic John Coltrane composition "A Love Supreme" in 2002, Romare Bearden Revealed in 2003, Eternal in 2004 and Braggtown in 2006. ~ Scott Yanow, All Music Guide [-] Hide

One of the brightest new trumpet stars to emerge in the 1990s, Nicholas Payton combines references to his New Orleans heritage with the Young Lions' brand of hard bop and a warm sound. His father Walter Payton, a top bassist, and his mother (a classical pianist) encouraged his interest in music and he received his first trumpet when he was four.... [+] Read More

One of the brightest new trumpet stars to emerge in the 1990s, Nicholas Payton combines references to his New Orleans heritage with the Young Lions' brand of hard bop and a warm sound. His father Walter Payton, a top bassist, and his mother (a classical pianist) encouraged his interest in music and he received his first trumpet when he was four. Payton developed quickly and at age nine he had opportunities to sit in with the Young Tuxedo Brass Band. One day when Payton was 12, Wynton Marsalis called to speak to his father; Nicholas spontaneously played his trumpet over the phone, impressing Marsalis who in the future would recommend him to other bandleaders. Payton worked steadily in New Orleans while in high school; he graduated from the New Orleans Center for Creative Arts and studied with Ellis Marsalis. In 1992 he toured with Marcus Roberts, in 1994 he toured Europe with Jazz Futures II, and in addition Payton toured with Elvin Jones and worked with the Jazz at Lincoln Center program. He has recorded with Jones, as a leader on Verve, and with the New Orleans Collective on Evidence. Payton's Place, which featured cameos by Wynton Marsalis and Roy Hargrove, appeared on Verve in 1998; Nick@Night followed two years later. A commission to explore the works of Louis Armstrong resulted in the 2001 recording, Dear Louis. ~ Scott Yanow, All Music Guide [-] Hide

Every few years it seems as if the jazz media goes out of its way to hype one young artist, over-praising him to such an extent that it is easy to tear him down when the next season arrives. In the early '90s, Joshua Redman briefly became a media darling, but in his case he largely deserved the attention. A talented bop-based tenorman, Redman... [+] Read More

Every few years it seems as if the jazz media goes out of its way to hype one young artist, over-praising him to such an extent that it is easy to tear him down when the next season arrives. In the early '90s, Joshua Redman briefly became a media darling, but in his case he largely deserved the attention. A talented bop-based tenorman, Redman (who will probably never be an innovator) is a throwback to the styles of Red Holloway and Gene Ammons, but also has an inquisitive spirit and can play intriguing music when inspired.

The son of the great tenor saxophonist Dewey Redman, Joshua graduated from Harvard and (after debating about whether to become a doctor) he seemed headed toward studying law at Yale. However, Redman came in first place at the 1991 Thelonious Monk competition, landed a recording contract with Warner Bros., and was soon on the cover of most jazz magazines. Pat Metheny was a guest on one of his albums (the Redman-Metheny interplay during their engagements was quite memorable) and, although Redman has had success constantly touring with his own group, it is a pity that his apprentice period as a sideman was so brief. In 1996, Joshua Redman recorded and briefly toured with Chick Corea's "Tribute to Bud Powell" sextet; the solo Timeless Tales (For Changing Times) followed in 1998, and in 2000 he returned with Beyond. Passage of Time appeared in early 2001, and was followed by a lengthy tour of the US. The next year, Elastic appeared in stores with an uncharacteristically humorous sight gag adorning the cover. That also reflected on the music, which was more adventurous and playful than in the past, owing a debt to his electronica and experimental rock influences. In 2005, Redman made the move to Nonesuch and released Momentum. ~ Scott Yanow, All Music Guide [-] Hide

This West Coast guitarist is able to pop off bop phrases or fusion licks. He prefers a modern approach. Excellent studio musician. ~ Michael G. Nastos, All Music Guide

This West Coast guitarist is able to pop off bop phrases or fusion licks. He prefers a modern approach. Excellent studio musician. ~ Michael G. Nastos, All Music Guide [-] Hide

On the first of three volumes, Wynton Marsalis explores ten standards plus two of his originals with his quartet of the period (which consists of pianist Marcus Roberts, bassist Robert Hurst III, and drummer Jeff "Tain" Watts). Marsalis' tone is quite beautiful on the well-balanced set; even the ballads have their unpredictable moments. Among... [+] Read More

On the first of three volumes, Wynton Marsalis explores ten standards plus two of his originals with his quartet of the period (which consists of pianist Marcus Roberts, bassist Robert Hurst III, and drummer Jeff "Tain" Watts). Marsalis' tone is quite beautiful on the well-balanced set; even the ballads have their unpredictable moments. Among the more memorable performances are his treatments of "Caravan," "April in Paris," "New Orleans," "Memories of You," and two versions of "Cherokee." ~ Scott Yanow, All Music Guide [-] Hide

Payton's third album as a leader is assuredly more commanding than his previous projects, and his technically flawless trumpet is right among the leaders in the neo-bop field. Yet he remains essentially a preservationist, a throwback to the hard bopping '50s and '60s and a staunch believer in the orthodoxies and rituals involved. There are... [+] Read More

Payton's third album as a leader is assuredly more commanding than his previous projects, and his technically flawless trumpet is right among the leaders in the neo-bop field. Yet he remains essentially a preservationist, a throwback to the hard bopping '50s and '60s and a staunch believer in the orthodoxies and rituals involved. There are exceptions -- a nice '60s Blue Note-style boogaloo for starters ("Zigaboogaloo"), a probing, driving, tempo-shifting workout on Wayne Shorter's "Paraphernalia" from Miles In the Sky (which is about as progressive as the record gets) -- but conservatism prevails elsewhere, even in the mild-mannered cover of the Stylistics' "People Make the World Go Round." In a takeoff on the Three Tenors, "The Three Trumpeteers" finds Payton joyously uniting and dueling with Wynton Marsalis and the ubiquitous Roy Hargrove; thankfully, one can tell them apart by ear despite the orthodox hard bop format. Pianist Anthony Wonsey, hardnosed tenor saxman Timothy Warfield, bassist Reuben Rogers and drummer Adonis Rose expertly do what is expected of them, joined now and then by the above two guest trumpeters and another stock member of the Young Lions cast, tenor Joshua Redman. ~ Richard S. Ginell, All Music Guide [-] Hide

Dark Keys is Branford Marsalis' first major solo album since taking a leave from recording to be the musical director of The Tonight Show in 1993. Instead of following through with the hip-hop inclinations of Buckshot LeFonque, Marsalis has returned to traditional jazz, yet this is far from standard bop. Marsalis pushes at the borders of... [+] Read More

Dark Keys is Branford Marsalis' first major solo album since taking a leave from recording to be the musical director of The Tonight Show in 1993. Instead of following through with the hip-hop inclinations of Buckshot LeFonque, Marsalis has returned to traditional jazz, yet this is far from standard bop. Marsalis pushes at the borders of post-bop, adding elements of hip-hop and rock & roll, making for an adventurous and exciting listen. Occasionally, his experiments are unsuccessful, yet they are never less than intriguing. ~ Leo Stanley, All Music Guide [-] Hide

Soft Winds is a fine all-round showcase for guitarist Ron Eschete and his trio (which also includes bassist Todd Johnson and drummer Paul Humphrey). Most of the set is comprised of standards (best are "I'll Close My Eyes," "But Beautiful," and "My Romance") although it also includes the obscure "Sleepwalk" and a pair of basic Eschete originals... [+] Read More

Soft Winds is a fine all-round showcase for guitarist Ron Eschete and his trio (which also includes bassist Todd Johnson and drummer Paul Humphrey). Most of the set is comprised of standards (best are "I'll Close My Eyes," "But Beautiful," and "My Romance") although it also includes the obscure "Sleepwalk" and a pair of basic Eschete originals ("I-5 Blues" and "Rumpled Silk Skin"). Eschete is a very consistent straight-ahead jazz improviser and both his appealing chord voicings and swinging single-note solos are well worth hearing. Recommended. ~ Scott Yanow, All Music Guide [-] Hide

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and... [+] Read More

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations. ~ Alex Henderson, All Music Guide [-] Hide