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Jazz - Erschienen am 19. April 2019 | Blue Engine Records

Hi-Res Auszeichnungen 5 Sterne Fono Forum Jazz
Ein einziges Foto gibt es von ihm – Charles Joseph „Buddy“ Bolden, dem legendären Kornettisten aus New Orleans und Urvater jener Musik, die als Jazz populär werden sollte. Ansonsten weiß man nicht viel von ihm. Sehr laut und klar soll er gespielt haben, was Buddy Bolden zwischen 1900 und 1906 zum beliebtesten Musiker der „Crescent City“ machte. 1907 wurde er mit der Diagnose Dementia praecox ins Louisiana State Asylum in Jackson eingewiesen, wo er 1931 im Alter von 54 Jahren starb. Dass es keine Aufnahmen von seiner Musik gibt, machte den auch als „King“ Bolden bekannten Bläser schon früh zum Mythos. Dem sich etwa Michael Ondaatje 1995 literarisch mit seinem Roman „Buddy Boldens Blues“ (TB dtv) widmete. Und nun der Regisseur Dan Pritzker filmisch mit „Bolden“, für das Startrompeter Wynton Marsalis den fabelhaften Soundtrack lieferte. Mit der ihm eigenen Akribie tauchte er tief in die Historie ein, um ein Höchstmaß an musikalischer Authentizität zu sichern. „Wir wussten, was er spielte“, sagt Marsalis. „Wir kannten sein Repertoire; Musiker spielten es, und die Leute sprachen darüber. Ich habe viel recherchiert – wir wissen sogar, womit er sein Set eröffnet hat. Es gab also Wissen über ihn und darüber, wer er war und was er spielte.“ Dass von den 26 Tracks zehn auf Louis Armstrong verweisen, wofür Marsalis zur Trompete wechselt und seine Band zum mit Saxofonen (Ted Nash, Walter Blanding), zweiter Trompete (Marcus Printup) und Piano (Dan Nimmer) moderner besetzten Tentett aufweitet, ist angesichts von Buddys Einfluss auf Satchmo von bezwingender Logik und deshalb wohl nicht allein der Erzählstruktur des Films geschuldet. Nebst dem obligaten „Basin Street Blues“ funkeln folglich solche Klassiker wie „Dinah“ (samt der Vokalistin Reno Wilson) oder der „Tiger Rag“ neben Marsalis’ wunderhübsch betiteltem Original „Phantasmagoric Bordello Ballet“ und Jelly Roll Mortons famoser Hymne „Funky Butt (I Thought I Heard Buddy Bolden Say)“ in makellosem Armstrong-Stil. Der Kornett-Sound des originalen Septetts (unter anderen mit dem superben Klarinettisten Michael White) ist dagegen eine clevere Rekonstruktion: „Ich kombinierte die Stile von drei Trompetern, die von Bolden beeinflusst wurden: King Oliver, der mit einem großen Sinn für Würde spielte; Freddie Keppard, der mit Power und fast einem Ragtime-Feeling spielte und gut mit Effekten war; und Bunk Johnson, der einen rauchigen Ton hatte und sehr knackige, kurze Sätze spielte. Ich habe das Gefühl, dass Boldens eigentlicher Stil wahrscheinlich größer war als der aller drei.“ Was Wynton Marsalis daraus macht, ist die geniale Huldigung eines Mythos mit allem Drum und Dran – samt überschwänglichem Klarinetten-Jubel à deux und mitreißender Kornett-Ekstase zu packenden Marching-Band-Beats. Wobei sich der Bogen der klanggewaltig eingespielten Tracks von Buddy Boldens Opener „Come On Children“ über Originals wie „Shake It High, Shake It Low“ bis hin zum Funeral-Klassiker „Didn’t He Ramble“ spannt, bis der opulente Soundtrack – den man mit der Lektüre von Ondaatjes Roman begleiten sollte – durch Wynton Marsalis’ finale Verbeugung vor „Buddy’s Horn“ stilvoll ausklingt. Ob der legendäre Kornettist vor 120 Jahren wirklich diese Strahlkraft entfaltete, werden wir nie erfahren. Den Spirit jener frühen Kindertage des Jazz spiegelt freilich „Bolden“ in imposanter Attraktivität. Um es mit Giordano Bruno zu sagen: „Wenn es nicht wahr ist, ist es doch gut erfunden.“ Und dies absolut überzeugend. © Thielmann, Sven / www.fonoforum.de
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CD14,49 €

Jazz - Erschienen am 24. Januar 1990 | Columbia

On the third of his three standards albums, trumpeter Wynton Marsalis meets up with his father, pianist Ellis Marsalis (along with bassist Reginald Veal and drummer Herlin Riley), for 17 standards and three of his originals (including "In the Court of King Oliver"). Wynton, perhaps because of his father's presence, is very respectful of the melodies, sometimes overly so. The result is that this set is not as adventurous as one would like although Marsalis's beautiful tone makes the music worth hearing. © Scott Yanow /TiVo
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CD14,49 €

Jazz - Erschienen am 31. Juli 2007 | Columbia - Legacy

As a staunch jazz classicist and a vociferous champion of its traditions, Wynton Marsalis should seem right at home playing an album of jazz standards. And, in fact, he does. Marsalis is well suited to classic, acoustic sets, in part because of his clear, lyrical tone on the trumpet, but mostly because of his love for the music (Marsalis's aversion to avant garde, fusion, and other experimental takes on the genre is well known). The set list of STANDARDS has many of the usual suspects, including "April in Paris," "A Foggy Day," "Django," and "Caravan." It's clear Marsalis isn't out to radically re-invent these tunes, but rather to give them classic renderings, summoning the ghost of early, acoustic post-bop with an appealing sense of balance, beauty, and technical precision. © TiVo
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CD14,49 €

Jazz - Erschienen am 9. Juni 1985 | Columbia

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CD52,49 €

Jazz - Erschienen am 7. Dezember 1999 | Columbia

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CD14,49 €

Jazz - Erschienen am 6. Januar 1991 | Columbia

Wynton Marsalis's second of three standard albums was actually released after the third volume. On most of the selections, the brilliant trumpeter is heard in excellent form with his quartet (comprised of pianist Marcus Roberts, bassist Reginald Veal or Robert Hurst and either Herlin Riley or Jeff Watts on drums); tenorman Todd Williams helps out on "I'll Remember April" and altoist Wes Anderson is also added to "Crepuscule with Nellie." Marsalis's tone really makes the ballads worth hearing, and his unusual choice and placement of notes keeps the music stimulating. This mostly bop-oriented set is rounded off by a jaunty version of "Bourbon Street Parade." © Scott Yanow /TiVo
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CD14,49 €

Jazz - Erschienen am 7. Juli 1987 | Columbia

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CD14,49 €

Jazz - Erschienen am 31. Juli 2007 | Columbia - Legacy

As a staunch jazz classicist and a vociferous champion of its traditions, Wynton Marsalis should seem right at home playing an album of jazz standards. And, in fact, he does. Marsalis is well suited to classic, acoustic sets, in part because of his clear, lyrical tone on the trumpet, but mostly because of his love for the music (Marsalis's aversion to avant garde, fusion, and other experimental takes on the genre is well known). The set list of STANDARDS has many of the usual suspects, including "April in Paris," "A Foggy Day," "Django," and "Caravan." It's clear Marsalis isn't out to radically re-invent these tunes, but rather to give them classic renderings, summoning the ghost of early, acoustic post-bop with an appealing sense of balance, beauty, and technical precision. © TiVo
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CD14,49 €

Lounge - Erschienen am 1. Januar 1990 | Columbia

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 /TiVo
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CD14,49 €

Jazz - Erschienen am 1. Januar 1990 | SMCMG

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 /TiVo
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CD14,49 €

Jazz - Erschienen am 1. Januar 1991 | Columbia

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 /TiVo
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CD14,49 €

Jazz - Erschienen am 18. April 1995 | Columbia

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CD14,49 €

Blues - Erschienen am 28. April 1998 | Columbia

The Midnight Blues is the fifth installment in his ongoing Standard Time series, where he offers his own interpretations of classic American pop, jazz and blues songs. Supported by pianist Eric Reed, bassist Reginald Veal and drummer Lewis Nash, as well as a 31-piece string orchestra, he runs through a number of standards -- "The Party's Over," "It Never Entered My Mind," "Baby, Won't You Please Come Home," "Guess I'll Hang My Tears Out to Dry" and "My Man's Gone Now" -- which are arranged and conducted by Bob Freedman, Marsalis' longtime collaborator. The album falls somewhere between Hot House Flowers and one of the early volumes of Standard Time, as it has a lush sound but remains quite idiosyncratic and quietly adventurous in its arrangements. The result is a lovely, albeit minor, addition to Marsalis' rich catalog. © Leo Stanley /TiVo
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CD14,49 €

Klassik - Erschienen am 21. April 1992 | Sony Classical

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CD14,49 €

Klassik - Erschienen am 31. Oktober 1998 | Sony Classical

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CD19,99 €

Jazz - Erschienen am 21. Juni 1988 | Columbia

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CD9,99 €

Jazz - Erschienen am 21. Juni 2010 | Rampart Street, LLC - Jazz in Marciac

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CD14,49 €

Jazz - Erschienen am 1. Januar 1984 | Columbia

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 beautiful. © Scott Yanow /TiVo
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CD14,49 €

Jazz - Erschienen am 1. Januar 1983 | Columbia

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 /TiVo
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CD14,49 €

Klassik - Erschienen am 25. November 1984 | Sony Classical