Customer Reviews

Blood on the Fields (3-CD Digipak)

5 star:		(7)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(5)

 

 

A truly epic story must have many elements such as tragedy, suspense, humor, psychological and even historical insight. This work has all that and more. The music and lyrics are intellectually and emotionally engaging and are very effectively crafted to help the listener to feel as well as follow the story. However, that does not prevent many of the songs from being catchy or much of the music from being simply delightful. I think the pieces are also composed and arranged to the strengths of the performers. I found Cassandra Wilson's vocals (and the arrangements behind them) to be especially effective. Although some of the most catchy and memorable songs belong to the male vocalists. I suspect that in a hundred years or so this work will stand out as one of the most important musical compositions of the 20th century.

There's much of musical-narrative value to be extracted from any one of the three discs comprising Wynton's ambitious attempt to capture the odyssey of the African-American experience through jazz. And I hear more of Ellington's signature and spirit in this work than in other attempts to invoke the Master's muse. The frequently loose and polyrhythmic textures, the vocal expressiveness of the instrumentalists, the indebtedness of the singers to the instruments of jazz, the narration supplied and dramatized by Wynton himself, the balance between composition and improvisation--all are in abundant evidence throughout this lengthy program.

But having listened attentively to the program once, I doubt it will receive another playing. "Melodrama"-- the combination of music and story--is not an easy form to pull off successfully and, above all, to sustain for upwards of three hours, especially without the aid of visual choreography. After 10-15 minutes the instrumentation and textures become overly familiar, the voices of the principals begin to seem indistinguishable (not helped by the baritone register which Cassandra Wilson shares with the other singers), and the spoken narrative supplied by the band remains informative but at the expense of lightness and life.

My impatience is only increased by the discovery that a similar musical narrative, Duke's scintillating and highly personal (and very underrated) "A Drum Is a Woman," is no longer in print! Maybe it's time to call a moratorium to more latter-day original compositions until we've had time to process the rich legacy that is in danger of being lost.

This gripping 3-CD masterpiece is perhaps Wynton Marsalis's most stunning album to date. Not only is the execution of the music top notch, but the themes of the songs themselves do a superb job of capturing the very element that was the impetus behind these compositions. For example, it can sometimes be difficult to sit through "Forty Lashes" because Herlin Riley's drumwork is that powerful.

"Blood on the Fields" has a little bit of everything crammed into it. There are blues, ballads, high octane bop, and even dirges. The first two discs are especially strong. Cassandra Wilson, John Hendricks, and Miles Griffin sing passionately. Perhaps the strongest pieces are "You Don't Hear No Drums," "Move Over," "Soul For Sale," and "Plantation Coffle March." On the second disc, "God Don't Like Ugly" reaches a rare level of intensity that is reminiscent of "Holy Ghost" on "In This House, On This Morning."

Wynton does an excellent job of showcasing his compositional genius with this album, and the orchestra does an excellent job showcasing its technical talent. There are some stunning riffs, stratospheric cadences, and light-speed ensemble passages to study.

There are, however, two weaknesses to this otherwise brilliant piece of work. The third disc in particular is not as engaging as the first two are. The songs don't convey the same degree of intensity, and the songs themselves are largely devoid of any real action. The other minor gripe is the reading of the passages between some songs. The passages aren't read in complete unison, so it seems raggedy.

Despite these two issues, the lion's share of the music in this 3-CD set is brilliant, intense, and well-executed. It is definitely deserving of a serious listen, not just for its musical merits, but also for its historical and educational significance.

Blood On The Fields is one of the most innovative compositions in jazz. Wynton Marsalis picks up were Ellington left off. The use of the horns to there fullest potential is a tribute to the skill and musicianship of the LCJO. Marsalis continues to move jazz composition forward and into new territory.

Marsalis definitely deserved the Putlitzer for this work. He takes the issue of American slavery and weaves together a story of triumph and pain using the most American of all music forms in a timeless oratorio that will be appreciative for decades to come. Even Marsalis' critics will have to concede that this piece swings like no other. If you buy anything by Marsalis or the Lincoln Center Jazz Orchestra, make it Blood on the Fields!

I rate this album based on the quality of musical expression, not on some implied or expected intention. The variety and complexity of rhythmic and melodic expression here is enormous. The various instruments and vocals combine to give an effect unique in jazz. Each track has its own special flavor. I own more than 20 Wynton Marsalis albums and this one has really grown on me.

"Blood on the Fields" is truly an ambitious work. A work that would have sounded alot better if there weren't vocals. This should have been an instrumental album. I can deal with a few tunes having vocals, but in honesty the vocals weren't very well done. The music itself could have progressed greatly if the attention wasn't on the singers.

Thankfully, Wynton has alot of good discs to choose from. If you like progressive big band stuff, then I would check out his album "Big Train," which was very well done and I enjoyed alot. For a little smaller group his septet recordings are worth checking out:

Citi Movement
The Marciac Suite
Soul Gestures In Southern Blue - Volumes 1, 2, & 3
In This House, On This Morning
Joe Cool's Blues

For smaller group you can't go wrong with all of his "Standard Time" discs and also look for "Black Codes (From The Underground)," "J Mood," and "Hot House Flowers." All excellent albums.

"Blood on the Fields" is an interesting concept, but unfortunately Marsalis doesn't pull it off on this one.

This is a fantastic work that I seem incapable of growing tired of. Marsalis' best work to date.

The perplexingly amateurish choral readings that introduce the musical pieces put me off early...and I never recovered. Why weren't actors hired for these readings?

Having read the libretto first, I had some idea of the type of music I wanted to hear. I understand the concept of writing against the obvious but, for example, I wanted to hear SOME terror in the music and vocals of "Move Over". If I'd heard it cold, and out of context, I would have assumed a romantic "afterglow" backstory to the song on this recording.

I'm regrettably disappointed.

Wanting More in Minnesota

Upon listening to this marvelous work, I can't help but think of the amount of thought and insperation that went into the creation of such a tremendous work. This composition is so marvelous in fact that I don't think the Great Ellington could have done better. Never before has creativity reached such a pinnacle. Wynton is the epitome of a musical genius. And how about the rest of the Lincoln Center Jazz Orchestra? Do these guys really know their instuments or what? All of the ensemble members and singers perform this Pulitzer Prize winning composition with the utmost conviction and emotion. And of course Wynotn is at his Virtuoso best all the way around. For all of you who have not had a chance to listen to it, I emplore you to do so. And to those of you who have heard it and don't like it, I pity you and pray the mercy of God upon you.