Maastricht, the Netherlands, round 2001 late night a jazzband played it's last tunes of the evening. When packing theyr gear they became exited. "Isn't that Wynton?" He and his band were walking back from a concert to the hotel. They stepped in and asked the local band to jam with them. They went on and on, respecting one and another. The happy few had a great show. No only for the music, but to see the equal level of respect from the master to the amateur. Wynton, thanks for this all. Erik.
What Wynton does, is excellent and tight, 100% pitched and melodically sensual solo playing. all of you who play the trumpet MUST know how hard it is to achieve a playing routine like Wynton has. Everyone else just stfup with dumb criticism. To like him or not is just a matter of favor.
you guys have got to be kidding me. yeah what the fuck is emotion anyway? the guy sounds unfuckingbelievable on the trumpet and uses it as his voice. one of the best musicians in the world, hands down
There's absolutely nothing wrong with listening to those musicians. I have a ton of music by those same musicians, but I can tell you that Wynton is an excellent jazz musician. Like you said, he in fact has been influenced by them, but he also brings his own ideas and style into his music.
I have a cassette copy of it. Amazing. Faddis was in the audience nearby and his mouth was open in shock, as was everyone else who was lucky enough to be there (despite Dejohnette's horrible 20 minute bombastic drum solo).
Yes, the dissonance is intended. Ever hear any of Monk's recordings? He used dissonance better than anyone; it was one of many of his contributions to jazz. It was just one way Wynton pays his respect to Monk.
You probably don't know what he's doin then. If u listen, he's actually soloing over the main idea of the song. He's rythmically, harmonically and technically advanced. Great ear, too. Everyone has their thing that they hear, though. I bet if you saw him live you wouldn't think it's as 'empty'.
No, i just listen to the older stuff, you know the stuff that came before wynton and miles. like louis armstrong, charlie parker, george gershwin, dizzy gillespie, bix beiderbeck, king oliver, john coltrane, clark terry. you know the people that influenced marsalis. but you know what i'm just dumb
I see what people are saying about Wynton's sounding "unemotional". But wynton's a pretty cool customer so maybe this is how he does it, he has an eye on structural beauty and tone. To ask him to put "emotion" in would be getting him to play out of character, and it would be acting, playing like someone else, not improvising from him (tho obviously he's playing in a style, showmanship etc). Look at Miles, he was really urbane and tho he came out of bebop you couldn't ask him to play like Dizzy.
Yea, I think he sounded so much better on the Bach...why he doesn't see that I have no idea. He should listen to the recording of himself with Sonny Rollins at the Beacon theater. I don't think anyone in the history of the trumpet has played better than he did that night.
I thought the opposite. As long as the melody and chord changes are there that's enough. The arranger has to be allowed some type of freedom of creativity. Monk's tunes were composed for a quartet, Wynton arranged them for a septet and I liked the harmonies that he used with the group's instrumentation. To each his own, I guess.
Professional can mean you just get paid for playing the instrument. If you listen closely to the deepness of his sound and what he's trying to play, he plays with much emotion. Listen to embraceable you and the very thought of you vids and that's some pretty original style with plenty of emotion. He just has his own style of playing, as we all do once we get to a certain level on whatever instrument. You are entitled to your opinion though.
i thought wynton's arrangements of monk were actually really square. also listen when they go to solo section-- no effort to maintain the spirit and rhythmic motif of the composition--- they could be soloing off any old tune.
I always thought of him as a divine classical trumpet player but a alright jazz. i might be stuck in the past with Dizzy and Louis but it just seems like Wynton try's too hard.
Its not him coming out of that trumpet. When Miles played a note you knew it was Miles. He has no sound, he's got notes on a paper. He's a great player but he's not worth all this interest.
Maastricht, the Netherlands, round 2001 late night a jazzband played it's last tunes of the evening. When packing theyr gear they became exited. "Isn't that Wynton?" He and his band were walking back from a concert to the hotel. They stepped in and asked the local band to jam with them. They went on and on, respecting one and another. The happy few had a great show. No only for the music, but to see the equal level of respect from the master to the amateur. Wynton, thanks for this all. Erik.
OMG! WOW!!!
What Wynton does, is excellent and tight, 100% pitched and melodically sensual solo playing. all of you who play the trumpet MUST know how hard it is to achieve a playing routine like Wynton has. Everyone else just stfup with dumb criticism. To like him or not is just a matter of favor.
O grande Wynton Marsalis mais uma vez botando para quebrar parabéns mestre.
you guys have got to be kidding me. yeah what the fuck is emotion anyway? the guy sounds unfuckingbelievable on the trumpet and uses it as his voice. one of the best musicians in the world, hands down
There's absolutely nothing wrong with listening to those musicians. I have a ton of music by those same musicians, but I can tell you that Wynton is an excellent jazz musician. Like you said, he in fact has been influenced by them, but he also brings his own ideas and style into his music.
Great tone on the soprano sax! Excellent player!!!!!!!
I have a cassette copy of it. Amazing. Faddis was in the audience nearby and his mouth was open in shock, as was everyone else who was lucky enough to be there (despite Dejohnette's horrible 20 minute bombastic drum solo).
I love Wynton's Monk arrangements. You know it's not his fault that he's the one "they" picked to be jazz's spokesperson. And he is amazing.
never heard Victor Goines sound so good. love it
He always my fave trumpeter.
Victor Goines (soprano), Wessell Anderson (alto), Wycliffe Gordon (trombone), Ben Wolfe (bass), Herlin Riley (drums) and Eric Reed (piano)
I always was partial to the Marcus Roberts / Todd Williams group, but think the Monk album is my favorite Standard Time album. What do others like?
ESSE E O MESTRE.
i thought the same thing until i heard him play bourbon street parade. check it out!
@stuartbowes: Well said! I agree with you 100%.
I agree and liked that part too, but I think it was all improvised.
Yes, the dissonance is intended. Ever hear any of Monk's recordings? He used dissonance better than anyone; it was one of many of his contributions to jazz. It was just one way Wynton pays his respect to Monk.
It's better to think first before you give some comment. We are talking about music it's not a race track or a soccer game!!
You probably don't know what he's doin then. If u listen, he's actually soloing over the main idea of the song. He's rythmically, harmonically and technically advanced. Great ear, too. Everyone has their thing that they hear, though. I bet if you saw him live you wouldn't think it's as 'empty'.
Mingus did a lot of that to.
its cool baby, we cool
Wynton plays great but one can only imagine how much more he would have said with his old Bach 72. Would have killed it.
No, i just listen to the older stuff, you know the stuff that came before wynton and miles. like louis armstrong, charlie parker, george gershwin, dizzy gillespie, bix beiderbeck, king oliver, john coltrane, clark terry. you know the people that influenced marsalis. but you know what i'm just dumb
nice!
I see what people are saying about Wynton's sounding "unemotional". But wynton's a pretty cool customer so maybe this is how he does it, he has an eye on structural beauty and tone. To ask him to put "emotion" in would be getting him to play out of character, and it would be acting, playing like someone else, not improvising from him (tho obviously he's playing in a style, showmanship etc). Look at Miles, he was really urbane and tho he came out of bebop you couldn't ask him to play like Dizzy.
What's the lineup?
i like the original with Monk and gigi Gryce.This cover feels a little precious to me...should have let Wessel play it straight as a quartet..
Yea, I think he sounded so much better on the Bach...why he doesn't see that I have no idea. He should listen to the recording of himself with Sonny Rollins at the Beacon theater. I don't think anyone in the history of the trumpet has played better than he did that night.
I thought the opposite. As long as the melody and chord changes are there that's enough. The arranger has to be allowed some type of freedom of creativity. Monk's tunes were composed for a quartet, Wynton arranged them for a septet and I liked the harmonies that he used with the group's instrumentation. To each his own, I guess.
Professional can mean you just get paid for playing the instrument. If you listen closely to the deepness of his sound and what he's trying to play, he plays with much emotion. Listen to embraceable you and the very thought of you vids and that's some pretty original style with plenty of emotion. He just has his own style of playing, as we all do once we get to a certain level on whatever instrument. You are entitled to your opinion though.
There´re no buts Split006, that note is flawless, it´s sound out of tune but that´s the intention.
remember when he used to play on a bach and sounded great? He still sounds amazing, but god i hate the freakin monette
i thought wynton's arrangements of monk were actually really square. also listen when they go to solo section-- no effort to maintain the spirit and rhythmic motif of the composition--- they could be soloing off any old tune.
ok gsbtrumpet
I always thought of him as a divine classical trumpet player but a alright jazz. i might be stuck in the past with Dizzy and Louis but it just seems like Wynton try's too hard.
Its not him coming out of that trumpet. When Miles played a note you knew it was Miles. He has no sound, he's got notes on a paper. He's a great player but he's not worth all this interest.