As featured soloist on Shorter’s twin specialisms of tenor and soprano saxophones, Marsalis never tried to emulate his hero, although Shorter’s liking for precise, gnomic phrases possibly influenced his thought processes occasionally. His playing was by turns direct and expansive and always brilliantly cogent and in the spirit of the composition, be it ever so slightly mysterious or downright amiable.
Date: September 29, 2013
There some names in jazz that carry with them innumerable expectations and assumptions. Unsurprisingly, most of them turn out to be wrong because we have come to believe the media streams before the evidence of our own eyes and ears. Branford Marsalis is one of those names, and his appearances with The Scottish National Jazz Orchestra (SNJO) will set the record straight for those smart enough or lucky enough to have had a ticket.
Most of the press hubris surrounding the family name quickly descends into a chaotic dissection of the jazz body politic and the fomenting of non-existent controversy. Fortunately, Branford Marsalis has friends and fans on his side who only want to hear him play and this is where he found himself last Friday night at Perth Concert Hall.
Better still The Music of Wayne Shorter provided exactly the sort of platform for the scope of his artistry while the SNJO directed by saxophonist and founder Tommy Smith, offered a superbly realized context for Shorter’s demanding music. Not content with that, they presented challenges to themselves and pearls to the audience with gymnastic arrangements provided by the likes of Manu Pekar, Mike Gibbs, Geoffrey Keezer and newcomer Jacob Mann.
Marsalis is famous for disregarding musical boundaries but is especially associated with classical settings of tremendously mellifluous and lyrically flowing melody. Read more »