press

Publication: New York Times
Author: Nate Chinen
Date: April 27, 2012

Branford Marsalis Quartet
Contrarianism suits the saxophonist Branford Marsalis, though probably not as much as he likes to think. The title of his new album, “Four MFs Playin’ Tunes,” hurls a rejoinder to the rarefactions he sees elsewhere in jazz. He’s overstating the point, but maybe that’s the motivation he needed. Anyway, the album is a knockout: hard nosed and hyperacute, tradition minded but modern, defined by the high-wire grace of his working band.

The tunes — mostly by Mr. Marsalis and two of his band mates, the pianist Joey Calderazzo and the bassist Eric Revis — fall in line with the group’s longstanding house style, either ruminative and shadowy (“Maestra”) or intrepid and swinging (“Whiplash”). And the evident commitment in the playing, including that of the fearless young drummer Justin Faulkner, gives the material a strong sense of lift.

For now the album is available only on Marsalis Music as a deluxe double LP: released last week for Record Store Day, it will be available on CD and digital formats on Aug. 7.

For Nate’s other Record Store Day picks, visit the full article here. Read more »

Publication: Rifftides
Author: Doug Ramsey
Date: July 15, 2012

The Marsalis quartet achieves openness without abandoning harmonic guidelines, hipness without complex chord permutations. A saxophone soloist who manages to meld aggressiveness and wryness, Marsalis is at his peak here. The delight that he, pianist Joey Calderazzo, bassist Eric Reavis and young drummer Justin Faulkner find in supporting and surprising one another is likely to also affect the listener. The tunes are by members of the band except for Thelonious Monk’s “Teo” and Richard Whiting’s “My Ideal,” the latter with a tenor solo that combines tenderness and wit. A highlight: Marsalis’s “Treat it Gentle,” recalling Sidney Bechet’s passion on soprano, but not his wide vibrato. Read more »

Publication: The Scotsman
Author: Jim Gilchrist
Date: July 5, 2012

WITH almost 200 world premieres, the 16th World Saxophone Congress next week in St Andrews promises a wealth of innovation and entertainment

ADOLPHE Sax could never have guessed just what he was unleashing when he patented a design for a curiously-shaped reed instrument in 1846, that his invention would power the music of such diverse creative spirits as Maurice Ravel and John Coltrane; likewise the douce Fife town of St Andrews probably has little inkling of what will hit it next week when some 800 musicians converge on it from around the globe for the 16th World Saxophone Congress.

The ancient stones of the East Neuk metropolis will reverberate to the unbridled sounds of innumerable reeds as the six-day event hosts scores of concerts, recitals, lectures and workshops – including some 200 world premieres – in venues ranging from St Andrews University’s 1,000-seat Younger Hall to the venerable undercroft of its department of medieval history. Part of the 600th anniversary celebrations of Scotland’s oldest university, the event ranges through classical, jazz, contemporary and even folk genres.

“It’s massive,” says Richard Ingham, the event’s organiser and musician-in-residence at the university. “We’ve been working on it since we won the bid to host it in Bangkok three years ago and it’s a great thrill to be bringing it here, with such a cornucopia of concerts and recitals every day.

“I want to show saxophonists from across the world what Scotland and the UK has to offer, and also I want people from the UK to see and hear what other players from all over the world are doing. There’s some amazing stuff going on out there.”

High-profile guests include the renowned American player Branford Marsalis, who will premiere a new concerto for saxophone by Andy Scott with the Scottish Chamber Orchestra at the opening gala concert on 10 July. Read more »

Publication: Ottawa Citizen
Author: Doug Fischer
Date: June 26, 2012

REVIEW: Branford Marsalis & Joey Calderazzo Duo
NAC Studio
Reviewed Tuesday, June 26

In these penny-pinching times, a cynic might be tempted to say the recent popularity of the jazz duo is simply the result of programmers finding ways to save money. Two musicians come cheaper than a quintet or, heaven forbid, a big band.

Ah, but true or not, the observation misses an essential point: the duo is not only good value for the bean-counters, it’s probably the leanest way to get at the core of jazz.

If jazz at its best is the in-the-moment interplay between musicians, then what’s more basic, more intimate, than an unencumbered encounter between two players at the top of their game — two guys like saxophonist Branford Marsalis and pianist Joey Calderazzo?

The pair have played together since Calderazzo replaced the late Kenny Kirkland in Marsalis’s powerhouse quartet in 1998. But it’s only been for the past few years than they have also performed as the seamlessly intuitive duo that played two shows at the Ottawa jazz festival Tuesday night.

Their kind of familiarity can lead in two directions: playing what’s comfortable, or taking advantage of the freedom that comes from trusting each other when walking out on a musical high wire without a net.

Happily, Marsalis and Calderazzo have chosen the latter course. Read more »

Publication: WinonaDailyNews.com
Author: Terry Rindfleisch
Date: June 24, 2012

World-class jazz saxophonist Branford Marsalis embarks on a new journey in the world of classical music at the 2012 Minnesota Beethoven Festival.

Publication: LoHud.com
Author: Latoya West
Date: May 17, 2012

Branford Marsalis has accomplished great things since he first picked up the saxophone. He has played with some of the world’s greatest musicians, led the “Tonight Show” band, won Grammy Awards and composed music for Broadway shows.

Now, one of the shining stars of “jazz’s first family,” is coming to Westchester to play with the Westchester Philharmonic as they close out their 2011-2012 season at The Performing Arts Center at Purchase College this weekend.

“I have a couple pieces I am going to play,” he tells us. “I’m going to learn a lot and I’m going to have a good time.”

Before you go to the show, here are six things you might not have known about the man behind the saxophone.

1. In Branford’s opinion, he didn’t really grow up in a musical family.
Sure, his older brother Wynton Marsalis is a superstar in the world of jazz. And yes, music seems to be in his family’s DNA. But Marsalis says he didn’t grow up in a “musical family” as most people would assume. “That’s the myth and you can’t stop the myth sometimes,” he says. “I grew up in a regular family with too many kids arguing and fighting, driving mom crazy…with fraternal football games that often turned bloody. Our memories as kids weren’t about us sitting around practicing all day. I mean Wynton practiced a lot, starting when he was 13. But that was his choice.”

2. Contrary to media reports, there was never any sibling rivalry between him and Wynton.
“As far as music goes, we don’t play the same instrument, so what would be the reason for the rivalry?” Marsalis says. But that doesn’t mean the brothers never had tension as they defined their individual career paths. “ Wynton was upset when I left his band to join Sting’s band and then the media started talking about a rivalry,” Marsalis recalls. “But it was less of a rivalry and more of a profound ideological disagreement, which over time resolved itself as those things often do among family members.”

3. He wanted to be a history teacher.
“I was going to school majoring in history. I wanted to be a school teacher,” Marsalis says. But he credits his father for talking him into pursuing his music dream at age 19. “He said when you’re married with kids, you don’t want to be sitting around wondering if you could have done it,” Marsalis recalls. “So I moved to Boston for 1 1/2 years and went to the Berklee School of Music and then I went to New York after that. Read more »

Publication: Seven
Author: Steve Bornfeld
Date: April 5, 2012

Three settings: Soothe your soul. Warm your soul. Scorch your soul. However they fiddle with the thermostat, the Branford Marsalis Quartet keeps the musical temperature exquisitely cool.

Following the SFJAZZ Collective’s listless opening of the Cabaret Jazz room, the new venue got the true launch it deserves courtesy of the Marsalis collective. Had The Smith Center not been constructed of such sturdy stuff, this foursome—sax man Marsalis, pianist Joey Calderazzo, bassist Eric Revis and superhuman drummer Justin Faulkner—would have blown the roof off the place and sent it hurtling into Symphony Park.

Facing a packed, rapt house, the ensemble put the crowd into orbit via “The Mighty Sword,” a seven-minute rocket ride of propulsive riffs with soaring solos from the ensemble’s new album, Four MFs Playin’ Tunes. Butter could melt inside the bell of Marsalis’ horn, warmth commingling with virtuosity to produce his singular, signature sound.

“We’re going to do this song by Barry Manilow,” Marsalis deadpanned to audience giggles—yes, he was joshing—but there was nothing “Copacabana”-like about this night and this place, which echoed more with the vibe of the legendary Birdland.

Screams of appreciation and standing ovations accompanied not just songs but individual solos. Especially dazzling was Faulkner, who just might be three drummers in one, his solo so powerful and exhilarating that you’d wonder if the late Buddy Rich had shucked off his immortal coil and returned in Faulkner’s body. Rub drumsticks together this vigorously and you make fire. Read more »

Publication: The Columbus Dispatch
Author: Kevin Joy
Date: April 18, 2012

New York musician Miguel Zenón has filtered the music of his Puerto Rican homeland through a jazz lens.

For his latest album, Alma Adentro: The Puerto Rican Songbook, the 35-year-old alto saxophonist began with familiar music composed in the 1920s to the 1970s — cuts not quite anthemic but much ingrained in his native land.

“They’re a part of the culture in Puerto Rico,” said Zenón, who has a bachelor’s degree from Berklee College of Music in Boston and a master’s from Manhattan School of Music in New York.

Though long enamored of jazz, he found that highlighting his roots held even more allure.

“As much as I like . . . (American standards), I didn’t feel as personally connected.”

Such a fusion has paid off for Zenón, whose Alma Adentro was deemed the best jazz album of 2011 by National Public Radio.

It came on the heels of a 2008 MacArthur Fellowship — the “genius grant” that provides $500,000 apiece to cutting-edge individuals in science and the arts.

Such credit “does make people notice you a little more,” he said.

More exposure will occur on Thursday, when Zenón performs with a quartet at the Wexner Center for the Arts as part of the 35th annual Ohio State University Jazz Festival.

He talked this week from New Orleans.

Q: With no prior warning about being given the MacArthur grant, how did you react to the initial phone call?

A: It was a surprise for me — very pleasant. In terms of what that’s done for me and my life and everything, aside from the obvious financial connotation, it definitely opened a lot of doors and brought a little more attention to what we’re doing.

It’s given me a lot of freedom with my time — to play with the people I want to play with, financing my own recordings and projects.

Q: How did you select and interpret fare for your latest album?

A: The approach in general was just to think about these songs the same way you’d think about the great American songbook and how that’s become an essential part of the jazz lexicon.

A lot of the . . . ( Adentro selections) were written at the same time, when all this Tin Pan Alley stuff was happening. I felt I had a personal connection with these songs I’ve been hearing since I was a kid — through my parents or just on the radio or playing in school.

Q: Did any one song have a particularly strong pull?

A: Definitely the title track. The composer, Sylvia Rexach — she’s a favorite of my mother.
My mom, I remember, . . . was always singing her songs in the house. Read more »

Publication: Chicago Tribune
Author: Howard Reich
Date: April 13, 2012

The ingeniously paced, handsomely played set that alto saxophonist Miguel Zenón offered Thursday night at the Jazz Showcase very nearly summed up the man’s appeal in small-group settings.

For if Zenón had affirmed has ability to hold his own in an orchestral setting last February, when he fronted the Chicago Jazz Ensemble at the Harris Theater, this time he led his quartet in expansive performances of both new and familiar repertoire. Virtually every piece in his first set emerged a model of pacing and architectural clarity, themes appearing and re-appearing at carefully chosen moments, instruments entering and exiting the ensemble texture for maximum dramatic effect. Yet, somehow, the music sounded free and spontaneous while conveying unmistakable structure and form.

Not surprisingly, the heart of the set was built on scores from Zenón’s most recent recording, “Alma Adentro,” in which Zenón re-imagined classic popular songs of his Puerto Rican heritage through the prism of jazz improvisation. As strong as this music sounded on disc, however, in some ways it proved still more effective in this performance, thanks largely to the bloom of Zenón’s tone in full-throated passages and the delicacy of his sound elsewhere. Read more »

Publication: Post-Tribune
Author: Diane Kubiak
Date: April 6, 2012

If recent reviews are an indication, ticket holders can expect a musical treat from jazz master Ellis Marsalis, headliner of the Valparaiso University 27th annual Jazz Festival on Saturday, April 14.

Jazz reviewer Dean Shapiro of “Where Y’At” magazine had high praise for the elder Marsalis’ release of “Jazz at Christmas in New Orleans” last fall. “It invites the listener to tune in with a fresh set of ears,” he wrote.

Although the selections were familiar, “only a master composer/arranger like pianist Ellis Marsalis, patriarch of America’s First Family of Music, could have pulled off such an astounding transformation,” Shapiro wrote.

Marsalis’ musical transformations in other works are done both with respect for the original and with the entire history of the genre at his fingertips. Consider his CD “An Open Letter to Thelonious Monk.” The song “Deceleration” does more than put one into a relaxed mood; the music requires one to relax in order to appreciate the subtle harmonies and dissonances as they keep the listener in that delicious place between surrender to the lyrics and anticipation of its next nuance.

His command of the history of his genre comes forth, too, in the CD “Homecoming,” a reissue of the famous 1984 recording session of Ellis with Eddie Harris on tenor sax. In Ellis’ left hand one can hear the rhythm of New Orleans in the beat of people striding down “Hickory and Cognac Streets,” as the song is entitled.

Marsalis recently shared some of that New Orleans history in a phone interview that included insights into his craft, his teaching, the upbringing of his six sons and the struggle to “make a living” in times that were transforming both musically and socially.

A new Orleans native

Born on Nov. 11, 1934, at the height of the Great Depression, Ellis Marsalis began his formal music studies at age 11 when he attended the Xavier University Junior School of Music. “I was fortunate enough to be born in New Orleans,” he said. Read more »