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Jason Marsalis brings percussion jazz to Seattle’s Jazz Alley

by Kim Hastings
axs.tv
November 5, 2014

Jason MarsalisA river of New Orleans jazz music runs deeply through the Marsalis family. From father Ellis through Branford, Wynton, Ellis Jr. and to the cousins beyond, music is the lifeblood that flows through their veins. Little surprise then that Jason, the youngest of the Marsalis family, carries on the proud tradition. Jason Marsalis and the Jason Marsalis Quartet bring their love of all things jazz to Dimitrious’ Jazz Alley Wednesday Nov. 5. One show only, the music begins at 7:30 p.m.

Jason Marsalis has been drumming all his life. In the last 15 years, he added the vibraphone to his repertoire. It is this fusion of percussive sound that he features in his newest album, 21st Century Trad Band. In a live appearance on KPLU’s Studio Sessions, Marsalis was asked about musical influence.

“Well my family first, but I also was strongly impacted by the Afro-Cuban sounds of Abelardo Barroso, Bebo Valdez, and Armando Parazo,” said Marsalis.

When asked about his current album Marsalis said, People hear ‘Trad Band” and they think that was something from a long time ago. I want to show the people that it’s something that can work today.”

Marsalis’ group includes Austin Johnson (piano) Will Goble (bass) Dave Potter (drums) and Marsalis, concentrating on vibraphone but also taking a turn on the skins himself.

Marsalis’ career was briefly derailed by Hurricane Katrina but has since taken on new life. His 2009 release “Music Update” was his first release as bandleader. The album was Jason’s celebratory response to his family winning the distinguished NEA Jazz Masters Award. Since that time, his career has only flourished. 2013 was a monumental year in which Marsalis released his next recording as a leader on vibes entitled “In a World of Mallets”. The album went to Number 1 on the CMJ Radio Charts and also won an Offbeat Magazine award, a New Orleans music magazine, for best Contemporary Jazz Album.

Marsalis’ fans can expect to hear a wide-ranging eclectic set at Jazz Alley. From the titular track to the off-beat “For the Man With Two Left Feet” the Marsalis Quartet keeps the music humming. Featured are Jazz riffs and signature long pieces that show off the abilities owned by everyone in the group. The show is designed as an homage to jazz, blues, and the myriad music that has shaped Marsalis’ life.

With ‘The 21st Century Trad Band’ comes yet another Marsalis

by Dan MacIntosh
axs.tv
November 3, 2014

If you think the Marsalis family line ended with trumpeter Wynton and saxophonist Branford, you’re wrong because vibe play Jason Marsalis – the youngest sibling – has just released his second Vibes Quartet recording, The 21st Century Trad Band, on Basin Street Records. It’s the follow up to 2013’s In a World of Mallets, which made it to number 1 on the JazzWeek radio charts. This new effort continues the collaboration between Marsalis and his band, which includes Will Goble on bass, Austin Johnson on piano and David Potter at the drums.

The album includes tracks like “Offbeat Personality,” which features a complex arrangement that mixes hard-swinging with melodic segments, as well as a few unexpected turn-arounds and a quiet intro. “The Man with Two Left Feet,” on the other hand, matches traditional jazz elements with a more contemporary feel. It shows what happens when a band is able to log many miles and years together prior to recording together.

Marsalis incorporates a wide variety of instruments on this release, including marimba, glockenspiel, tubular bells (remember The Exorcist theme?), vibraphone and xylophone. One track is even a bit of an off-kilter blues workout called “Discipline Meets the Offbeat One.”

This album once again includes compositions from Marsalis’ band mates, but also features some works by fellow New Orleans musicians. For instance, Cliff Hines’s “Interzone” is included, as is Jason Weaver’s “Blues for Now.” Both men are graduates of the New Orleans Center for Creative Arts.

Marsalis also gets a little social/political on one track, “BP Shakedown,” which is obviously inspired by the BP oil spill. A further sonic exploration is “Nights in Brooklyn,” which takes on film noire sounds.

Marsalis has already received high praise from other respected musicians. Banjoist Bela Fleck, for example, noted Marsalis’ “brilliant ideas that sound as if he’s played them his whole life, but are really coming off the top of his head.”

Although trumpeter Wynton is the most famous member of the family, his father, Ellis, is also a respected play. Brother Delfeayo Marasalis is a trombone player and producer. Wynton is a teacher and music educator, in addition to a composer and player. Anybody that’s ever seen him perform live has experienced his teaching skills — he loves to talk jazz history. He is also Artistic Director of the Jazz at Lincoln Center in New York City. Over the years, he’s won nine Grammys – in both jazz and classical music. In fact, one of his recordings was awarded a Pulitzer Prize, the first of its kind. Now, Jason is making a bold entry into this amazing family tradition.

Jason Marsalis’ Eager Curiosity Drives the Constant Student

by Geraldine Wyckoff
offBeat Magazine
November 1, 2014

When drummer/vibraphonist Jason Marsalis and his brother, trombonist Delfeayo, met with noted journalist and musician Leonard Feather in 1992 to participate in a “Before & After” article for JazzTimes magazine, the two knowledgeable musicians were more than ready for the challenge: Name the artist heard performing a selection of Feather’s choice.

Jason Marsalis, Photo by Elsa Hahne, OffBeat Magazine, November 2014“This is how the test started,” Jason recalls, smiling at the memory. “He said, ‘Okay, here we go,’ and presses the play button and in two seconds I turned to Delfeayo and said, ‘That’s the late Art Blakey, you know that, right?’ Leonard Feather was very surprised by that. Then Delfeayo and I were trying to figure out who was in the band—that was our whole thing.”

Those who remember reading the article know that Jason and Delfeayo nailed every tune and artist that Feather presented. That Jason jumped in so quickly doesn’t come as a surprise to those who know him and have followed his career as a drummer, vibraphonist, composer and producer. He’s a constant student with an eager curiosity to absorb all there is to know about the music and particularly about the jazz musicians who came before.

Marsalis is quite emphatic when it comes to the importance of looking back to the masters in order to really play jazz as it should be played. He frowns a bit on those artists who don’t do their homework.

“I feel to get to write the best music that you can, the more music that you study and the more possibilities that you are aware of, give you the knowledge that you can create anything you want to create,” Marsalis explains. “Let’s say you have a musician who is influenced by Wynton’s [his brother, trumpeter Wynton Marsalis] first quintet but they’re not studying Miles’ [trumpeter Miles Davis] second quintet or John Coltrane’s quartet. They fall short. I’ve always been interested in what it is that the musicians checked out. To me, that’s how you get to the greater substance.”

Marsalis’ formidable knowledge can also be attributed to being a member of the musical Marsalis family. As the son of pianist and educator Ellis Marsalis and the brother of saxophonist Branford, Wynton and Delfeayo, music, and particularly jazz, has always been central to his everyday life. Jason also had access to an in-house demonstration on the discipline that is required to play jazz.

“Everybody, at the end of the day, is serious about their craft and they believe in getting to the substance of the music, or whatever they’re trying to do,” Marsalis explains. “I think that comes from my father, because he has a holistic view of music and life. There were definitely words about the importance of practice and of being thorough.”

Marsalis chuckles a bit when he adds that his father always comes forth with a lot of sayings and offers a few examples. “He always says, ‘There are those who have a view of the world and those who have a world view.’ Oh and also, ‘There are those who do know, there are those that don’t know, and there are those who don’t know there is something to know.’”

Marsalis, 37, began his musical journey at age seven studying classical violin. He’s quick to point out, however, that he was “reading classical music, not playing classical music. I wasn’t interpreting Bach’s music—I didn’t understand its importance.”

He did bang on a toy drum set when he was three and a few years later graduated to a legit set and began studying with New Orleans master-drummer James Black, who regularly played with his father. Because Marsalis was so young, his primary memory of the experience was Black recommending for him to read Stick Control, a book that Jason now calls “the bible of drum books.” Black’s lessons ended when the Marsalis family moved to Virginia in 1987 and didn’t move back to New Orleans until 1989. Black died on August 30, 1988.

Regulars at Snug Harbor remember Marsalis napping with his head on his mother Dolores Marsalis’ lap during his father’s gigs and then jumping excitedly to the stage when Ellis invited him to sit in. By 1984, he was already playing regularly with his dad as well in his brother Delfeayo’s band. The year 1992 marked his first recording appearances, performing on Delfeayo’s outstanding Pontius Pilate’s Decision, followed shortly thereafter on Ellis’ solid Heart of Gold.

An important development in Marsalis’ career came in 1995, when he began working with pianist Marcus Roberts, who had previously played in Wynton’s band. Jason’s drums are heard recording with Roberts for the first time on the pianist’s 1996 album, Portraits in Blue.

Marcus was very interested in presenting that jazz trio in a different way—he wanted to feature everybody,” says Marsalis, who continues to perform and record with Roberts. “That’s why I stayed with him so long. One of the things I’ve learned from him is about the use of space in music. I’ve learned, in a different way, of how to let the music take over.”

His desire to intensify his work with Roberts and be available to tour with him led to Marsalis leaving the very successful Los Hombres Calientes, a band he co-led with percussionist Bill Summers and trumpeter Irvin Mayfield. Marsalis, who in 1998 and 2000 performed on two albums with the group, credits Summers for his first introduction to the “details” of African and Afro-Cuban music. It was in 1998 that Marsalis put out his first album under his own name, Year of the Drummer, which, like the Los Hombres’ albums and his next three solo endeavors, were released on Basin Street Records.

Marsalis is at the top of his game on his new album, The 21st Century Trad Band, as a vibraphonist and composer. He digs into his deep wealth of musical knowledge to produce a fresh sound with deep roots. Like the rest of his musically talented family, Marsalis has strong opinions and shares them here.

The title of your new album, The 21st Century Trad Band, is rather unusual and, considering the music, could be misleading to those who might interpret it as performing New Orleans traditional jazz material in a modern way. That actually is not quite the case.

It’s really inspired, honestly, by a lot of debate that people have had over the music for the last 30 years—maybe even longer than that. I think that it is about this whole idea of people who talk about moving music forward. What they say is that it is important to move forward; you must never look back. I think it’s possible to do both things. I don’t think one is mutually exclusive from the other.

From my experience, [that philosophy] really intensified in the 1980s, following the jazz-fusion period, when you had musicians who wanted to deal with more swing and acoustic music. Then you had those, especially coming out of fusion, who hated that. Their criticism of it was interesting because they felt this was moving backwards. I even heard one person complain, saying, ‘In the ’70s, those musicians had their eyes on the future. Everything was great until you young lions came and messed it all up. It was fine until y’all showed up.’”

If you’re from a place that has its own music—whether it’s New Orleans or Brazil—you believe in passing the traditions on. And you then believe in what you can do new with those traditions. Other places that may not have their own folk music, so to speak, then the conversation is, “What’s the next thing?” I think any debate about music is about that.

The album art is really fun with the depiction of all you guys as superheroes. It reminded me of Wayne Shorter saying that he had all these action figures in his studio—a hilarious image. How did y’all decide on that?

The drummer in my group, David Potter, was offering these suggestions about what the next record cover should be. He said, “Yeah, we ought to do a real crazy album cover, maybe something like Branford’s cover for Crazy People Music.” I said, “Yeah, I think maybe I will do something animated, maybe superheroes or something.”

So my wife was asking what we’re going to do about the cover since when the band was in town we didn’t take any photos. I said, “I thought we’d use artwork, have it illustrated or something.” “Are you all going to be superheroes or something?” she asked jokingly. I said, “Yeah, that’s it.”

Your last two albums have been with your Vibes Quartet. Though in New Orleans you lead your quartet, Drums Unlimited, on drums. It appears, at least from this perspective, that you’re getting more national attention as a leader on vibes and as a sideman, particularly with pianist Marcus Roberts, on drums.

That is mostly true. I’d say the difference, though, is mostly that I do have music that I’m writing for a band [the Vibes Quartet]. This album is saying that I have a band now and we have a repertoire of music and you will be hearing from us. I do think with the vibes I am getting more attention, because it is a melodic instrument and also it’s an instrument that’s still rather rare. Next year, that is going to change, because I’m writing the music for a documentary entitled Heirs and it’s music on drums and vibes.

It seems that there are more vibraphonists on the jazz scene. Do you think the instrument that for years many people associated just a few artists, like Lionel Hampton and Milt Jackson, is enjoying a rebirth?

Jason Marsalis, Photo by Elsa Hahne, OffBeat Magazine, November 2014It was 2000 when I decided I needed to start playing vibes—I had the instrument since high school after my father suggested that I take it because mainly I was heading in the direction of studying percussion. When I discovered percussion in classical music, the next year the violin came to an end. What studying classical percussion means is not just snare drum but tympani, triangle …

I was talking to my father [around 2000] and he said, “Have you heard this vibes player from UNO? His name is James Westfall.”

Then I was in Houston and someone told me about this vibes player, Roman Skelkun, who was coming to New Orleans. It went from zero [vibes players] in the city to three in a year.

That told me that, yeah, this instrument is coming back. There has been a national resurgence of those playing the vibes, including people like Stefon Harris, Mike Dillon, Warren Wolf and others.

Let’s talk about your quartet on The 21st Century Trad Band and 2013’s World of Mallets. One thing that stands out is that all of the instruments here are essentially rhythm instruments. What makes that work so well?

I do tend to think rhythmically for all of the instruments when I write. Studying drums and studying rhythms means you can use syncopation and accents in different ways compared to someone who doesn’t. Also, having played drums, I have a better understanding of what to do with the rhythm section or what to tell the drummer.

The 21st Century Trad Band has a very upbeat mood as did last year’s In a World of Mallets. Of course, the most obvious realization of that is your wonderfully quirky tune, “The Man with Two Left Feet,” which you also played with your Drums Unlimited band recently. Is there any explanation why happiness feels so pronounced?

The reason is that I’ve found musicians who want to play the music that I’m playing and who are dedicated to playing it. We were on tour before we did the record—the first one and the second—so the guys are seeing that I’m really into this for the long haul. Also, the guys are hungry. They’re hungry to play and they’re hungry to succeed. That’s why there’s an upbeat sort of aura to the record.

I believe that all moods in music should be captured—happiness, sadness—but the point is that I do have a more upbeat perspective on where things are going with my music and the music in general. There’s a lot to be done. I’ll admit seven or eight years ago I didn’t have that same view. I’ve gotten to see more alternatives here and there.

You tend to quote [putting snippets of other tunes in a song] quite a bit when you play. Your father adds quotes a lot, too, and I noticed that pianist Austin Johnson also does. Decades back, in the ’40s, ’50s and ’60s, quoting was quite popular in jazz, so it’s kind of old school. It often brings a smile.

Yes, there is a good bit of quoting. I think it’s important to do that because you’re playing melodies. It shows that you have a sense of humor and also shows the music that you’re aware of. You’re not just thinking of only playing the correct notes, or the correct harmonies, or the correct chord changes. You’re trying to create music and create melodies. [Quoting was used more back then] because musicians then knew more music and they learned more music. Unfortunately, in my generation, you find musicians don’t learn as much music. A lot of times, they learn what’s on the gig and they don’t learn to become a better musician.

You accomplish many different tonal qualities from the vibes though, as you explained, you did utilize a few “disciplined overdubs” of other instruments to create a “percussion ensemble” effect.

In terms of the sound of the vibraphone, it did take me a while to develop a really pure tone and I’m still working on it. Sound is something that Marcus Roberts and I used to talk about a lot, because that’s very important to him. I remember practicing scales and I was playing really light and I liked the sound. I said, “Okay this is what I need to do.” So I started working on playing relaxed and not hitting the bar as hard—you don’t hear the attack, you hear the tone.

Many New Orleans jazz fans have watched Jason Marsalis, who graduated from the New Orleans Center for Creative Arts (NOCCA) and attended both Loyola University and the Eastern Music Festival, grow from a promising young drummer to a talent to be reckoned with on drums, vibes and as a composer. His skills merge mightily on the adventurous The 21st Century Trad Band, a comprehensive album that pops with spirited virtuosity from, as Jason describes them, all of the “hungry” guys in the band.

Jason believes that his, as well as Marcus Roberts’, continued hungry approach towards the music can be attributed to the belief that “there is a lot of success yet to come. For us, the enthusiasm is still there because there is still something to achieve.”

Currently, Marsalis’ focus is primarily on the Vibes Quartet, though in October he played several dates at Snug with Drums Unlimited that included pianist Johnson and two recent New Orleans transplants that were one-time students at Florida State University. With the usual bounce in his step, Marsalis bounded onto the stage and the group opened with the standard “After You’ve Gone” before heading into some original material. With Marsalis behind the drums, it was up to pianist Johnson to supply the melodic quotes.

A versatile artist, Marsalis is wide open to all music. In recent years, he’s been performing traditional New Orleans jazz more often at meccas of the music like Preservation Hall and Palm Court. He continues to play and record with saxophonist John Ellis’ jocular jazz band, Double Wide, and he stepped back a bit to his classic roots in 2011, when the Marcus Roberts Trio performed George Gershwin’s “Concerto in F” with the Saito Kinen Orchestra.

Marsalis’ encyclopedic brain, which served him so successfully for Leonard Feather’s “Before & After” test, was revealed in the classical genre one day when he stopped into OffBeat Managing Editor Joseph Irrera’s office. They chatted about classical music, as Irrera is a knowledgeable fan. Much to Irrera’s amazement, Marsalis began vocalizing nearly the entire first movement of Mahler’s “Symphony No. 2—The Resurrection,” reproducing all of the orchestra sounds with his voice and smacking his lips for the timpani part.

Marsalis’ head is full of music—be it jazz, classical, or any other genre that is built on a solid foundation of knowledge and played with a hungry spirit. He’s up for the challenge.

Editors’ Picks: November 2014

by Bobby Reed
Downbeat
November 1, 2014

As the album title The 21st Century Trad Band suggests, Jason Marsalis’ quartet mixes modern-day sounds with traditional ones. The title track includes a quote from the most traditional of tunes, “When The Saints Go Marching In,” while the song “BP Shakedown” begins with a recording of Rep. Joe Barton’s comments on the federal government’s response to the 2010 oil spill in the Gulf of Mexico. Marsalis, who topped the category Rising Star–Vibraphone in the 2013 DownBeat Critics Poll, has surrounded himself with fantastic musicians: pianist Austin Johnson, bassist Will Goble and drummer David Potter. Some of the album’s tracks feature the so-called Discipline Ensemble—Marsalis on marimba, glockenspiel, tubular bells, vibraphone and xylophone—but this is truly a band effort. The quartet has fashioned a strong album with an appeal that extends beyond the thrill of hearing a master of the mallets at work. One section of “Ratio Man” shows just how killer this band can be as a trio (when Marsalis isn’t playing). Marsalis’ tune “Nights In Brooklyn,” which has the feel of a film-noir soundtrack, features Potter’s supple brushwork and Johnson’s gorgeous piano lines. This album showcases Marsalis’ command of the vibraphone’s melodic and percussive qualities, as well as the leader’s eagerness to share the spotlight with his fine collaborators.

New Jazz This Week: Marianne Trudel, Eva Kruse, Trio of Justice and More

by Dave Sumner
Wondering Sound
October 29, 2014

For the second week in a row, some late Best of 2014 contenders state their claim. Two qualities reflect most of this week’s list of recommendations: strong musicianship and fun fun music. You just can’t overvalue the potency of serious music that’s also a blast to kick back and listen to. Let’s begin…

Jason Marsalis Vibes Quartet, The 21st Century Trad Band: Nice follow-up to last year’s winning release In a World of Mallets. Marsalis incubates a welcoming rush of warmth in his music, regardless of whether it’s a bop, a blues, or some modern construct that doesn’t sound beholden to any one influence. His use of xylophone, vibes, marimba, glockenspiel and tubular bells further diversifies his sound, and bringing back regulars Will Goble on bass, Austin Johnson on piano and David Potter on drums further cements the strength of their conversation. Very cool that he does a cover of fellow New Orleans musician, Cliff Hines’ “Interzone.”

Jason Marsalis (@JasonMarsalis) Vibes Quartet ‘The 21st Century Trad Band’ Album Out Now + LIVE on Tour!

by RJ Frometa
Vents
October 28, 2014

Jason Marsalis, the youngest of New Orleans’ Marsalis jazz dynasty, has released his second Vibes Quartet offering, The 21st Century Trad Band, today via Basin Street Records! The follow-up to 2013’s In A World Of Mallets, which hit #1 on the JazzWeek radio charts, The 21st Century Trad Band puts a spotlight on the growing synergy between the young & talented musicians consisting of Jason himself, Will Goble on bass, Austin Johnson on piano & David Potter on drums. For a taste of what to expect from the album, the Jason Marsalis Vibes Quartet previously unveiled cuts “The 21st Century Trad Band” & “Ratio Man.”

With songs on the album like “Offbeat Personality” Marsalis takes us on a journey through a complex arrangement combining hard-swinging sections with more melodic interludes, unexpected turn-arounds, and an introspective outro. While songs like “The Man With Two Left Feet” and the titular track play with the trad jazz idiom in a contemporary modality. What’s clear throughout the album is the developed control the band has cultivated through further years of playing together; the unspoken communication is evident.

As with previous albums, Marsalis continues his “Discipline” series accompanying himself on a variety of mallet-based instruments including Marimba, Glockenspiel, Tubular Bells, Vibraphone, and Xylophone, further establishing his voice as a mallet-player with the off-kilter blues of “Discipline Meets the Offbeat One” and several interludes with unusual rhythmic patterns and meters.

In addition to including original compositions from his band mates, Marsalis has taken a step further in encouraging the vanguard of the next generation of jazz by including compositions of the young New Orleans musicians Cliff Hines (“Interzone”) and Jasen Weaver (“Blues for Now”), both graduates of the New Orleans Center for Creative Arts.

The shear amount of music, seamless interludes, and a track reflecting on the BP Oil Spill, “BP Shakedown” are testaments to Marsalis’ serious nature towards his work. But just as he touched on playful, uncharted territory with In A World of Mallets’ “Ballet Class” he explores a film noire theme with “Nights in Brooklyn.”

Banjoist Bela Fleck has praised Marsalis for “brilliant ideas that sound as if he’s played them his whole life, but are really coming off the top of his head.” The NEA Jazzmaster stated himself that his last record was “the beginning of a new chapter.” It’s clear The 21st Century Trad Band is a continuation of that chapter, and it’s full of those “brilliant ideas” for which the bandleader has become known.

 

Drummers’ Choices: Setting the Beat, Calling the Tune

Jason Marsalis in the New York Timesby Nate Chinen
New York Times
October 24, 2014

The shift from drums to vibraphone began quietly for Jason Marsalis, about 15 years ago. By now, it’s complete; “The 21st Century Trad Band” (Basin Street Records) is the second album fully to feature his Vibes Quartet, an agile, swinging unit with the pianist Austin Johnson, the bassist Will Goble and the drummer Dave Potter. The title indicates Mr. Marsalis’s cheeky self-awareness as a New Orleans jazz scion, but it also reflects the genuine in-betweenness of this music, as much on a buoyant funk tune like “Ratio Man” as a clackety saunter like “The Man With Two Left Feet.” There’s a spine of traditionalism here, to be sure, but Mr. Marsalis, leading with flair, keeps its gaze pointed forward.

Album Reviews: James Williamson, One-Derful!, Jason Marsalis Vibes Quartet, Easy Star All-Stars

by Maeri Ferguson
The Horn
October 2014

The Marsalis’s are practically the royal family of the New Orleans jazz world, with brothers Wynton, Branford, Delfeayo, and the youngest, James, a prodigal drummer. Now, James Marsalis is carrying the torch with his Vibes Quartet on a new record entitled The 21st Century Trad Band (Trad Jazz is a traditional, ragtime style of jazz). Marsalis hands the drumsticks to Dave Potter, as he takes on the unique and frenetic vibraphones alongside bandmates Austin Johnson (piano) and Will Goble (bass). Songs like “Blues for Now” is mellow and chilled out, with an underlying chaos and ominous tone, while “Discipline Meets the Offbeat One” has a dreamy, manic, totally insane vibraphone solo that’s so layered and rich, it will make you want to just listen with your eyes closed so there are no distractions.

The Joy of Violent Movement

by William Ruben Helms
The Joy of Violent Movement
September 24, 2014

There are certain artists who are immediately synonymous with a particular location. You think of Bruce Springsteen, you immediately think of New Jersey, and of the venerable, Stone Pony in Asbury Park, NJ; The Ramones, The Talking Heads, Television and Blondie should bring to mind the grittiness of the old, Lower East Side and of CBGB’s; Nirvana, Pearl Jam, Soundgarden and Mudhoney should bring to mind 1980s and 1990s Seattle, WA; and as soon as you think of the venerable Marsalis clan, you should immediately think of New Orleans.

Certainly, if you know anything about anything about jazz — hell, about music over the past 50-60 years or so — you know that the Marsalis family have made a tremendous impact on jazz and on music. Patriarch, Ellis Marsalis is a legendary pianist and educator; Branford Marsalis is a world-renowned saxophonist who has not only played alongside Sting, but has long been known as a forward-thinking and brash giant of contemporary jazz; Wynton Marsalis has made a name for himself for his attempts at preserving and honoring jazz’s tremendous history; Delfeayo Marsalis is a renowned trumpeter; and the youngest of the clan, Jason Marsalis has toured with Bela Fleck and pianist Marcus Roberts. (Interestingly, if you consider how both Wynton and Bradford Marsalis come off in interviews and in public appearances, you’d think that Wynton was the eldest of the the incredibly talented family — wrong. It’s actually Bradford. You can use that bit in a trivia night, if it comes up.)

With the release of Jason Marsalis’s third album In a World of Mallets the youngest of the Marsalis clan returned to his role as composer and bandleader — and it served as the debut of the Jason Marsalis Vibes Quartet, featuring Will Goble (bass), Austin Johnson (piano) and David Potter (drums). And what made that album interesting was that the album’s material was comprised of incredibly complex but playfully witty compositions which managed to twist, turn, dart, flit about and play with pauses, time signature changes and key changes in ways that put a modern twist on classic jazz.

Basin Street Records will be releasing the second Jason Marsalis Vibes Quartet album, The 21st Century Trad Band on October 27, and with the release of the album’s first single, album title track, “The 21st Century Trad Band,” the album will continue to cement Marsalis’s reputation for playfully witty compositions that manage to be dense, complex and yet incredibly accessible. At one point, you’ll hear Marsalis playing the melody for “When the Saints Come Marchin’ In” for a few bars — right in the middle of the song that really swings and bobs with a sweet, amiable charm.

Jason Marsalis Vibes Quartet

by Leith Tigges
Where Y’At
September 22, 2014

I have to thank Jason Marsalis for introducing my ears to the brilliance that is the vibraphone. A clear talent, Marsalis is a NOLA native and has long been experimenting with instruments, often collaborating with fellow musicians and groups until finally taking the lead as an album star.

While each track on the album uses the some of the same instruments, Marsalis manages to create fresh beats for each song, giving the album a well-rounded feel and variety of music. However, if this album is one specific thing (other than good,) it’s most certainly jazz. With a vibraphone, piano, drums and bass featured on each track, the quartet offers plenty of smooth tunes for listeners to enjoy.

Born and raised in a New Orleans jazz family, Jason Marsalis has contributed his musical talents to the jazz audience of Big Easy, creating a cult following that is always eager to hear new material.

These tracks are relaxing and often ones you’ll find yourself snapping along to. While the vibraphone might be considered a bit of a risky attempt, Marsalis handles it with ease. Whether you’re an old fan of the vibraphone or a new listener like myself, you’re likely to enjoy the chill sounds that is Jason Marsalis and the Vibes Quartet; a group producing jazz sounds that the Big Easy can be proud of.