Conducting his innovative suite “Congo Square” with Ghanaian Drummers
I have written about Jazz in the New York Daily News, The Sunday Times of London, The Guardian- Observer of London, he Village Voice et al. And I have major essays anthologized in books. I have also covered the New York Jazz scene on WBAI FM. I have written about Wynton in all these venues and interviewed him on radio. I am about to put those interviews online. I have also appeared with Wynton and Ellis in a lecture/demonstration on Jazz and wrote the program notes for Jazz at Lincoln Center Concerts. Hence I have firsthand knowledge of the jazz milieu and I have paid close attention to Wynton’s career.
The Jazz scene in New York had become so dismal by the late 1970’s that I published an essay despairing over the future of the art form – See: “Will Jazz Survive: Notes on the State of the Great American Art ” in the Freedomways Reader – because the last commercial jazz station in New York, WRVR, had suddenly gone off the air. I wondered how the tradition could survive if the jazz community in the Mecca of Jazz couldn’t even sustain a single radio station devoted to this quintessentially American art. How could you produce new stars if young musicians couldn’t even hear the music on the radio?
Then I heard this young trumpet player from New Orleans perform with the Herbie Hancock VSOP orchestra…and my spirit danced. I knew he was going to be the next big thing the anointed one – having seen all the great innovators from Pops Armstrong to Freddie Hubbard live, I felt qualified to make the judgment – and history has proven me right…as it often does with my political prognostications.
Later I heard Wynton play the classical trumpet; a magnificent art that most jazz fans no know nothing about and many jazz musicians can’t play….I was amazed. As a failed trumpeter I understand the technical requirements for performing the masterworks by the great European composers. I know what embouchure is; I understand the difficulties of triple tonguing and circular breathing; I know how hard it is to achieve great intonation, and the complexity of fingering. All of which a trumpeter must master in order to play the European classical repertoire. Yet Wynton makes it look so easy people who have no hands on experience trying to play the trumpet are clueless as to the degree of difficulty involved.
It’s not surprising that music for the trumpet is so difficult in European art music, especially the Baroque music Wynton is so fond of; the trumpet is, after all, their instrument. I am presently writing a piece about Wynton’s influence on the great young classical trumpeters. Most people will be shocked to discover how many of the principal trumpeters in the great symphony orchestras were inspired and tutored by Wynton’s performances.
Yet the classical trumpet is Wynton’s second language on the horn. He is first and foremost a jazz trumpeter, who was raised by Ellis Maralis – a great pianist who is so devoted the art of Jazz piano that he named his son after a piano player, the marvelous Wynton Kelly, who was of Jamaican background – and he was tutored in the art of jazz by Alvin Bastise, a New Orleans clarinetist who is a master of Jazz and European classical music.
I watched as a member of the New York media as Wynton became the most sought after musician /commentator for the art of Jazz by virtue of his unique “skill set” as a bilingual trumpet virtuoso who was also a serious student of the history of Jazz and European art music; he was erudite, articulate, charming and funny. Plus he was good looking and a fabulous dresser: he was a television producer’s dream! That’s how it happened; the role was thrust upon him even as other’s would have given anything to play the role. That’s the real reason for all the hatin.
Much of Wynton’s style on and off the stage came from his tutelage under the great writer Albert Murray, author of the single most important book on Afro-American music: Stomping the Blues,” and whom Duke Ellington said was “The hippest cat I know.” In 1996 I presented a paper at a conference on Afro-American music held under the auspices of the European and US Associations of American Studies at the Sorbonne in Paris exploring this relationship titled: “The Influence of the Writings of Albert Murray on the Musical Compositions and Sartorial Style of Wynton Marsalis. But the point is that for all of these reasons I have cited here, i.e. his myriad virtues, Wynton became a favorite of television producers and hosts: And it is the best thing that ever happened to Jazz. In fact, I believe Wynton’s advocacy for the form as artist and advocate resurrected classic acoustic jazz – which is the highest expression of the art form. And I am prepared to argue this point with anyone!
Wynton Conducting the Lincoln Center Jazz Orchestra
A Master of his Trade
As a former history professor and co-founder of the first degree granting, freestanding, black studied department in the world – the WEB DuBois Department of Afro-American Studies at U-Mass Amherst, which awarded full Professorships in black music to Jazz Masters Max Roach and Archie Shepp – I know something about the history and cultural development of Afro-Americans, and I would argue that the Jazz at Lincoln Center program here in Manhattan is the most important cultural development in the history of black America!
And it definitely would not have happened without Wynton Marsalis. In order to get a Jazz department in the Lincoln the first task was to convince the Princes and Powers at the Lincoln Center – the world’s greatest performance emporium – that Jazz was an art form worthy of inclusion in a cultural warehouse that was stocked with classical European arts: Ballet, Grand Opera, Chamber Music, and the New York Philharmonic. Wynton was the ideal person to sell them on the artistic merit of Jazz precisely because he had won Grammy’s for the best Jazz and Classical instrumental performances – an incredible feat that no other musician in the world has repeated! And they bought what he was selling to the tune of 150 million dollars.
That’s why Congressman Jerry Nadler, who represents the district, said on opening day of the 150 million facility – “If Yankee Stadium can be called The House that Babe Ruth built, then Jazz at Lincoln Center will henceforth be known as the House that Wynton built.” As for the criticism of other musicians: I say bring them on!!!!!! Like the late great Sugar Ray Robinson I love a good fight, although, I must confess, that thus far they wither like snow balls in the sun when they cross swords with me on this question. However I would like to conclude this little discourse with the following observations about musicians and Wynton.
All of those I have heard criticize him are clearly his inferiors as musicians and promoters of the music. I could name names but I won’t….unless my veracity is called into question …but I’d rather not go there because my intention here is to set the record straight about Wynton not rag on other musicians. But if properly provoked I’ll sing like a canary. For the moment I a representative anecdote that is characteristic of what I found investigating the gripes of Wynton’s critics among musicians will suffice.
There was this very well know jazz trumpeter who used to dog Wynton’s playing; said it didn’t have enough ‘grits’ or some such inexplicable foolishness. So Wynton issued a challenge for him to come down to Lincoln center during a concert and “cut my head,” which is Jazz parlance for engaging in a competitive duel called “cutting sessions.” After the challenge was issued Wynton told me “That joker ain’t gonna show up…I’ll bet money on it.” He seemed so sure about this prediction that I hesitated to accept a wager that at first looked like easy money. So I declined the offer and instead asked him how he could be so sure the other trumpeter wouldn’t show. “Because he can sell all the Woof tickets he wants out in the streets,” said Wynton, “but he and I have practiced together and he knows the truth!” As Wynton predicted the dude punked out!
The affect that Wynton has on other trumpet players reminds me of the way flute players responded to Hubert laws when he first showed on the scene, another ambidextrous musical genius. Hubert scared everybody to death and it resulted in people saying dumb stuff like “his tone is too pretty,” or “he does not make enough mistakes” or “he plays like a machine.” I recognized it as the baseless slander of jealous peers back then, and the criticism I have heard of Wynton today does not rise above that level in my estimation. THEY ARE ALL JEALOUS HATERS!!!!!!!!!
The World’s Greatest Trumpeter?
Gerald Wilson Thinks So!
However let me conclude on the upbeat. While Wynton has his detractors he also has many ardent admirers among musicians. Dr. Billy Taylor, the Dean of musician/critics, loved the ground Wynton walked on and considered him the best hope for the music’s survival and growth. He told me that because of Wynton’s efforts to promote the music to a wider audience many of the musicians who criticize him are working more than ever.
When I wrote a big feature story for the Sunday Times of London on Betty Carter and the jazz youth festival she was hosting at the Majestic Theater and Brooklyn Academy of Music titled “School For Cats,” all of those brilliant young musicians – which included such virtuosi as pianist Cyrus Chestnut and drummer Adonis Rose – told me that one of the main reasons why they were seriously playing Jazz was because “Wynton came to my school and gave a talk on Jazz.”
At the time Wynton was in a little feud with Miles Davis, whom Wynton tells us in the interview with David Frost was his major influence. I asked the Empress of Swing, who had seen and heard them all, what she thought of the beef. “Miles is just jealous!” she said. “I knew Miles when he was Wynton’s age and has never been the trumpeter that Wynton is.”
Maestro Wilson Conducting JALC Orchestra
A Swinging Octogenarian
When I interviewed the legendary bandleader/arranger/composer Gerald Wilson – who also happens to be a trumpeter of long standing – I asked him what he thought of Wynton’s playing. He said without a moment’s hesitation: “Wynton Marsalis is the greatest trumpeter in the world! One of the virtues of writing in this new digital medium that is not enjoyed by writers in print publications is the ability to create multi-media presentations. Hence by virtue of You Tube I can demonstrate Maestro Wilson’s Claim.
I have selected two performances by Wynton Marsalis: a classical European composition and a wholly improvised jazz performance. Both performances were chosen because of the technical demands on the artist, which require the highest level of virtuosity in each genre. The extent of the difficulty an artist must overcome is the measure of their mastery of the horn. In the first video Wynton performs “The Carnival of Venice.” When the great composer of martial music John Phillip Sousa formed the US Marine Corps band he billed it as “The greatest Brass Band in the World!”
The brook of fire trumpet and cornet players had to cross in their auditions was to perform the Carnival of Venice,” a composition that contain myriad pit falls into which a hapless player will be devoured. It is a piece that demands mastery of all the elements of trumpet performance. The second video features Wynton playing Cherokee at break neck speed. It was the composition that those who aspired to share the bandstand with the elite players had to perform, often in a jam session when all eyes were on you.
Whereas in European art music all solos are composed, with improvisation allowed only in cadenzas, a kind of extended ornament, in jazz extemporaneous coherent musical statements is the rule. This demands the ability to create music at the speed of thought. Thus the more complex the musical statement – which must be negotiated within the restrictions of complex harmonic changes and polyrhythmic pulses – dictate the level of virtuosity required to perform it. To the untutored ear it may all sound the same but, as a matter of fact, they are vastly different.
Check them out, and you need not be highly tutored in musical performance in order to recognize the Genius on display here. And you will lose any desire to argue with Maestro Gerald Wilson when he declares: “Wynton Marsalis is the best trumpeter that I have ever heard and I played with all the greats,” So there! You have it from the lips of the Gods….I say fuck the haters!!!!!
He is the best that I have ever heard and I played with them all!!!” So there! You have it from the lips of the Gods….fuck the haters!!!!!
Me and Dr. Robert O’Meely Droppin Science at the Sorbonne
Exploring the relationship between Wynton and Albert Murray 1996
Double click here to see Wynton Perform Carnival of Venice
This video has a million and a half views!
Double click here to see Wynton perform Cherokee
Double click to see Wynton interviewed by David frost
Text by: Playthell Benjamin
All photos by: Frank Stewart – except pic from the Sorbonne
August 17, 2013