On MR. JELLY LORD, Wynton Marsalis offers a homage to fellow Crescent City native Ferdinand Lamenthe ("Jelly Roll") Morton that does full justice to a choice selection of the seminal jazz composer's incomparable oeuvre. Joined by a select crew of regular cohorts, New Orleans repertoire specialists, and by guest pianists Danilo Perez (an unaccompanied "Mamanita") and Harry Connick, Jr. ("Billy Goat Blues"), Marsalis extracts an ensemble tone that simultaneously addresses Morton's idiomatic essence while interpreting it with a modernist vocabulary.Not least, Mr. Marsalis unleashes his magnificent trumpet more than has been his wont on recent recordings. "King Porter Stomp" is an exquisite mute feature. There's a nuanced open-horn reading of the insinuating theme of "The Pearls," and, on "Dead Man Blues," a soaring Armstrong-esque oration articulated with golden tone and phrased with rhythmic complexity that recalls '60s vocabulary extenders Booker Little and Woody Shaw.The virtuosic solo on the penultimate track, "Black Bottom Stomp," remains pure Wynton Marsalis.The album concludes with a duet between Marsalis and pianist Eric Reed on "Tom Cat Blues"--- recorded by wax cylinder in the Thomas Edison Laboratories where phonographic technology was developed -- that blurs the lines between past and present in the manner Marsalis intends. It's a fitting end to one of his essential recordings.
|Label:||Sony / Bmg Japan|
Performance CreditsWynton Marsalis Primary Artist,Trumpet
Harry Connick Piano
Michael White Clarinet
Danilo Pérez Piano
Eric Reed Piano
Herlin Riley Drums
Reginald Veal Bass
Wessell Anderson Alto Saxophone
Lucien Barbarin Trombone
Victor Goines Clarinet,Soprano Saxophone,Tenor Saxophone
Wycliffe Gordon Trombone,Trumpet,Tuba
Don Vappie Banjo,Guitar
Eric Lewis Piano
Technical CreditsTodd Whitelock Engineer
Jen Wyler Engineer
Charles Luke Composer
Steven Epstein Producer
Anita Gonzales Composer
Most Helpful Customer Reviews
Standard Time, Vol. 6: Mr. Jelly Lord based on 0 ratings. 1 reviews.
Jelly Roll Morton was jazz music's first great composer, arranger and very nearly lived up to his claim--that he "invented" jazz. Certainly Morton was one of the first musicians to transform ragtime into jazz and the first to notate the New Orleans polyphony. However, his contributions to the music were very nearly overshadowed by his reputation and slander from critics who should have known better. Even today the jazz "intelligentsia" writes Morton off as a clucking has-been of a pimp who wrote a few interesting tunes. There has been a resurgence in Morton's popularity recently due to several books and critical studies that have set the record straight and done much to repair his reputation. That's why this CD by Marsalis is so important, and may be one of his best. Marsalis treats the music as a living testimony to the greatness of Morton, and his band performs the compositions with joy, roughness and the dirty sense of the gutbucket that Marsalis describes as the "poetic attitude towards the carnal"--which enlivens the best of New Orleans jazz. Morton would have been proud. Five stars.