Customer Reviews

Live at Blues Alley

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I purchased this album while I was a music performance major several years ago on cassette, played out that tape, and had to buy it on CD. The musicians assembled on this album are all-stars on their individual instruments, but this combo is now long gone. Shortly after this recording, Wynton's musical style changed significantly, and they went their separate ways. The level of sophistication on this album is nearly infinite. I've listened to each of these tracks more than 30 times, and everytime, find something more to appreciate. Marcus Roberts' solo on "Juan" (track 4) is one of the best live improvised piano solos ever. His dark harmonies, and boundless patience "unwinding" this improvised masterpiece, make it absolutely electric. This album is (in my opinion) the best recording ever released by any of Wynton's bands. It's a shame that he didn't pursue this musical avenue further, although his brother later did, with Jeff Watts, Robert Hurst, and Kenny Kirkland.

This review will NOT discuss: 1) whether Wynton is the natural successor to Miles Davis, Duke Ellington, or anybody, and 2) any statements made by Mr. Marsalis or his bandmates regarding politics and/or jazz music in general since this recording was made.

This album, recorded in December 1986, was released 2 years later and mostly ignored. By the age of 25, Wynton had conquered both the classical world and the PBS crowd, and had played with almost everybody. He was recording a group of standards albums for Columbia when someone decided it was time for a double live set. The only problem was, double live sets weren't selling anymore, even though jazz was experiencing a 15-minute window where it became an acceptable yuppie diversion. Since this time, Wynton has almost never performed in the quartet format, preferring much larger ensembles. Consider this album to be a time capsule - if you can set aside the Marsalis baggage, and love the trumpet or jazz in general, you will be greatly rewarded.

Even though fanatical devotees will sneer he has left these performances in the dust, this concert is a virtual encyclopedia of Wynton's style. Listen to 1000-notes-a-minute in the opening "Knozz-Moe-King", his use of mutes on "Just Friends" and "Cherokee", his subtle shift from fluid to shrill in "Chambers of Tain", and his long opening solo in Charlie Parker's "Au Privave". At the time of this recording, no one else in jazz was playing like this. You cannot discuss jazz trumpet in the late-1980s without mentioning Wynton, and these performances show why. It's easy to want to compare pianist Marcus Roberts with Hancock/Monk/Tyner/Jarrett et al, but the man absolutely has his own impeccable style. Almost every solo he takes is a jaw-dropper, but special mention must be given to the intensity of his trade-offs with Wynton on "Delfeayo's Dilemma". As for the rhythm section, bassist Robert Leslie Hurst III and drummer Jeff "Tain" Watts both are solid contributors and shine in their solos. These are no mere "backing musicians".

While some will make note of the "out there" free cover of "Autumn Leaves", or the over-the-top versions of "Skain's Domain" and "Much Later" (both from the wonderful J-Mood album), the real stunner is the heart-breaking "Do you know what it means to miss New Orleans?" This is a perfect example of the haunting "after hours" ballads that Wynton does so well, and sadly so rarely. The mournful "closin'time" tone of his horn has to be heard to be believed.

What might not be to everyone's taste is the fact this album was recorded with what I call the "retro" mix: piano in the left-channel, drums in the right-channel, with the trumpet and bass occupying the middle ground. Because this album was not a huge hit, nor has become a cult favorite, it's unlikely to receive a remix/remaster. For those who are put off by the almost 2-hours length, listen to one disk on one night, the other disk on the next, and double your pleasure. In spite of any imperfections, that Wynton was able to make an album like this when everyone else was exploring pop/world music/new age/avant-garde and large ensembles is a true miracle. Listen, remember, marvel, and enjoy!

I wrote the review above, and this disk came up again in a conversation a few weeks ago with tenor saxophonist Brice Winston. Brice and I were in the McDonald's Jazz Band in the summer of 1988, and hadn't seen each other until a concert that I attended at Blues Alley (live near DC now) where Brice was with Terrance Blanchard. After the set, we talked about how both of us had purchased this album since our tour with the McBand, and both of us had worn it completely out on cassette. A common experience for those who are into instrumental jazz that is heavy on improvisation and close musical communication between the musicians. With so many albums these days "studioized," its great to hear improvization rule the roost with some of todays brightest musicians, just as it did on this two CD live set.

There was a lot of sweat that night - or so says the liner notes. You can almost feel the sweat, the raw emotion, through the recording. Engineered brilliantly and performed even more brilliantly, uppity songs like "Knoz moe king" and all of its variations make this cd an amazing buy. It lasts forever - but I listen to it all the way through whenever I start it up -- it works as a whole extrememly well. All the instruments are at their finest.

The first track is so fast I love playing it for my trumpet friends just to watch them drool and grow red with envy. Oh well, this dude's talented - and it shows.

This album is a M*F*. Same band and similar style to Standard Time, Vol. 1 (one of my favorite albums). For some reason I never got it on CD, but I listened to it many times on two tapes a friend made for me years ago (when I had a working cassette deck!) I was surprised to see in the other reviews that it wasn't very popular. I know Wynton's done a lot of stuff since then, but for me this was his most exciting period and band.

This is one of the most definitive recordings ever made. I had the great privelege of being there for the entire run. There was a fantastic "Blues & Ballad" set that was never released from this engagement. It'll be interesting to see if Columbia ever releases these alternative tracks.

Skip Norris
Detroit, Michigan