Customer Reviews

Eternal

5 star:		(21)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

With Eternal, Branford Marsalis has done something I wondered if he would ever do--release a record that fully puts on display his huge, prodigal talent.

The key here, I believe, is his willingness to ditch the awkward and ungainly mannerisms that have too often sabotaged his efforts, most recently embarrassingly displayed on Romere Bearden Revealed. What we've got on Eternal is pure jazz musicality filtered through a very sultry ballad modality.

And it works splendidly.

Amazingly, Branford manages to sound equally convincing on two different horns: soprano and tenor. Look, it's hard enough to play ballads convincingly on one horn, let alone two. But Branford manages to pull it off. As is so often the case with transcendent jazz, the key is the leader's ability to evoke the elegiac (melancholic) mood without a trace of sentimentality. All the greats from Prez to Getz to Coltrane to Bobby Watson have been able to do it. To put Branford Marsalis in such company may seem a stretch, but this disc proves he's the real deal.

His work on soprano nearly jumps out. This notoriously difficult horn--difficult to keep in pitch, difficult to achieve a distinct voice, difficult to convey genuine emotion--he masters with such ease and aplomb as to practically deconstruct its reputation for contrariety. Check out his transcendent work on "The Lonely Swan," a stunningly beautiful Joey Calderazzo (piano) original. Striking the exact apposite tonal and conceptual mode, he nails this ravishing tune with such insouciance as to almost rewrite the book on soprano ballad playing.

His tone and approach on tenor bespeak a nearly unprecedented appropriation of ballad literature. Refinement without loss of virility--that's what characterizes his move on the larger horn, most abundantly parlayed on "Dinner for One Please, James," which also features off-the-charts dusky jazz pianisms from Mr. Calderazzo.

One of the things that distinguishes this set from run-of-the-mill ballad offerings is its combination of obscure standards, miraculously transformed, with surprisingly appropriate--and sometimes just drop-dead gorgeous ("Eternal," "Reika's Loss")--originals. You'd better nail it on a ballad album if you go this route. And these dudes do.

A note about the band (Branford Marsalis, soprano & tenor sax; Joey Calderazzo, piano; Eric Revis, bass; Jeff "Tain" Watts, drums): They're in some weird ur-jazz ballad zone here. Not only do they provide the exact right context for the remarkable music on display; they also communicate with a serendipity that borders on the uncanny. This musical ravishment, most fully realized on the title cut, obtains throughout the proceedings.

Listen, Branford: All is forgiven. You da man. And you proved it beyond a shadow of a doubt with this fabulous disc.

A band has to be really comfortable with each other to tackle a recording filled with ballads. Branford and company are fully engaged on this magnificent and beautiful collection of songs. This band has aged well, and it shows in the way they constantly engage each other. There is some magic happening here - and the listener gets all the rewards. This recording should allow Branford to pick up some new fans. I played this CD during a reception and twelve guest wanted to take it home. I ended up writing down the vitals & passing along other recordings that they might be interested in. This would be the first Jazz purchase for most of them. Jazz needs more recordings like this. The music has a nice warm glow around it and can be both engaging and stimulating. Branford's tone on both soprano and tenor is unique & personal - yet you can still hear him exploring and searching. His personal growth as an artist continues. I am looking forward to hearing him perform this music live - where he can stretch out & really explore these rich melodies. Branford, this is Exceptional Music. I'm loving it!!!

Quiet, Sad, gentle, meditative, modal, elegiac ballads for a number of recently passed friends including Ray Charles, Branford Marsalis has poured much of himself, his feelings into a consistantly great album of ballads. It conveys the same feeling of inner peace that "Kind of Blue" does, not that it IS KofB, but it has that quiet feel to it.

The Soprano sax is a notoriously difficult instrument to play. It cuts through all other instruments so everyone hears the artist, mistakes and all. It poses problems with intonation, can easily have a harsh metallic edge if overblown. Usually. But Branford does a triumphant job of taming this wild instrument. His soprano comes out sensuous, like a snake charmer coaxing a cobra with his pipe, or maybe the snake itself, Branford coaxes melancholy but pleasing tones out of his instrument. Branford makes it often sound almost like an oboe with perfect control.

It is consistent in tone and content throughout the album. Bradford is remembering his passed friends. The title track seems to represent something of a joyous resurrection at the end. It gathers one's attention.

Highly Recommended for repeated listenings. 4 & 1/2 stars

Having seen Branford Marsalis as part of his quartet a few nights ago at the London Royal Festival Hall I was blown away by the sheer excellence of this group of outstanding musicians. We were treated to a memorable concert made up partly of material from Eternal (three tracks) and other material - mostly much harder driving - that the band used to break up the mood.

The quality and inspiration of the musicians was phenomenal, they are all virtuosi at their respective instruments. I have seen many major Jazz musicians in concert over the years but never has my jaw hit the ground so hard as when I watched these guys. Phenomonal levels of skill and musical integrity were on display.

Make no mistake, this quartet is operating at the highest level in Jazz today. Each of the four are outstanding musicians in their own right and yet they play together brilliantly. Really, it does not get any better than this.

As far as the album in question goes - this is a clear 5* release. Clearly it's on the softer side of what Branford usually does but the resulting production is music at the highest levels of inspiration. Many beautiful tracks, no clunkers all played warmly and nothing cliched.

Highly recommended.

Those that previously wrote have said it all. I just want to add that either I was missing somebody or the truth is that this is a sublime, mystic, nostalgic and at the same time, audacious take with captivating and haunting scenes here and there. Perhaps the greatest recording from Branford and for the same token, from one of the greatest sax players around. Eternal Wow!!!

I'm not even a terribly huge jazz fan to be honest, but this album is just killer, one of the best I've gotten this year thus far, and a standout in my small but substantial jazz collection. The emotionality that comes across is so strong and there are moments that are like, DIVINE. I think anyone who listened to this cd would "get it" or shall I say, "feel it" immediately! In otherwords, it's not just for "music nerds". Ciao.

I am a Branford Marlsalis fan, so I confess that I like almost everything he does, but Eternal (both the album the 17 minute title track) is a leap into the ballad form that I did not expect. I focus mostly on the track, Eternal, which I confess I have listened to more than 20 times, with each listening eliciting more passion, more depth and subtlety than before. The band is excellent in every cut; Caldarazzo is terrific. Tain Watts is consistently inventive and complementary. But the heart and soul of this CD are contained in Branford's soloing on the last track. His expression is of a full range of life's emotions and brings to mind not only Coltrane, but Pharoah Sanders (remember Astral Travelling). His horn goes from intricate figures played delicately and quietly and build to the roar of the lion and then softly, lyrically return to the theme. Eternal is brilliant jazz; it is a must for all lovers of jazz saxophone, but especially for those of us old enough to remember when we waited for each Coltrane or Miles album to be released. When there was no internet or Amazon, just Down Beat. Play the title track and let yourself go with it wherever it seems to wander. Then, play it again. Like great literature, this music rewards the close listener with an open musical mind.

Marsalis has created an outstanding album. He performs in absolute control yet communicates in a rather emotional and passionate way. Watt's drumming is in my view an essential component of success in this group effort, particularly on "Glooomy Sunday". In fact, I would say that this is largely a Marsalis-Watts effort. Excellent recording quality. Kudos to Calderazzo as well yet his role is more supporting than anything else. But Branford, my friend...my deepest congratulations to you above all. I wish the CD had brought some liner notes along. Highly recommended for any jazz fan who is into today's "tigers".

In has last few albums in the late 90s and the beginning of this century, Branford has displayed that he has risen to a new level of maturity. Here, he shows that playing a ballad isn't just about being pretty, but providing the listener with a great amount of musical substance and intensity. Marsalis has his own voice on the soprano and plays beautifully. He is clearly one of the best players on the instrument today. Personally, I thought this album to be more inspiring, interesting, and powerful than McCoy's "Illuminations," which won the grammy for best jazz instrumental album ("Eternal" was nominated). And about the one-star reviews here, it just seems that some casual music listeners don't like ballad albums - not everyone does. If you're not interested, don't purchase this album. Try Bran's "Contemporary Jazz" or "Requiem." His music is generally complex and would not be enjoyable for most casual listeners. But honestly, there is a reason this album received excellent reviews and was nominated for a grammy. And please don't liken Branford to Kenny G. He is one of the most respected saxophonists in the world (both by musicians and critics).

You know, Branford may very well be the most consistently brilliant musician of our time. He always sounds as though he is in the 'shed. What others are ready to dismiss as "quirkiness", I embrace as pushing the envelope -- exploring all of the available musical options. As a listener, I LIKE to be teased by musical curveballs and angles. I LIKE players who resolve their musical statements in unconventional, yet strangely intriguing ways. I LIKE players who grow from record to record. To me, that's the essence of jazz.

The funny thing about it is that Branford has managed to do it it all very quietly. I guess we have come to expect this kind of consistent genius from him. I have thoroughly enjoyed every record from "Royal Garden Blues" to the present... and I will love watching "Eternal" take its place in the pantheon of best ballads records ever.

A billion stars for this one. Thanks for the music, bro'.