Customer Reviews

Live at the House of Tribes

5 star:		(10)
4 star:		(3)
3 star:		(2)
2 star:		(1)
1 star:		(2)

 

 

This is a great example of a live album that really conveys the upbeat mood of both musicians and an audience, a synergistic relationship in which the crowd actually enhances the flavor of the music. This is not glasses clinking and posers hooting to get their hipness on record, this is the sound of a good time.

Recorded in a small-sounding theater in New York, ten days before Christmas, 2002, "House of Tribes" finds Marsalis fronting much the same group as is featured on "The Magic Hour." They fly through six mostly long songs (the average is about 10 minutes) including "Green Chimneys," "Just Friends," "What is this Thing Called Love" and "Donna Lee."

I bought this last night and have been listening to it all day while working and putzing around the house. The record shifts smoothly from strutting, upbeat numbers to smoother affairs and ends with the rousing, tambourine-goosed "2nd Line." I think I'm going to be playing this for quite a while and I really wish I'd been there when it happened.

Wynton Marsalis' vita sheet has become so impressive that it's easy to take it as a given that he's the world's greatest trumpet player if not musician. He does nothing on this session to disturb such an estimate. If comparisons are to be evoked, the primary influence on Wynton's playing, at least to my ears, is Clark Terry rather than Diz, Miles, or Clifford. Like Clark, he alternates between a classically pure sound and occasional vocal effects, and he's continually playful and engaging, teasing his audience with minimal virtuosity before cutting loose. If his playing lacks passion and drama, it more than compensates with consummate technical command and undeniable flare.

This program appears calculated to appeal to a wide audience. "Green Chimneys" is an extended two-chord open piece introduced over an infectious boogaloo street beat. "Just Friends" is taken at an uncharacteristically laid-back tempo, with latin percussion and heavy emphasis on the off-beats. "You Don't Know What Love Is" and "Donna Lee" are the two least compromising selections on the date, both played in the tradition of Bird and Miles. "What Is This Thing" returns to the accessible rhythmic feel of "Just Friends," and "2nd Line" is an elemental New Orleans march.

Although producer Delfeayo Marsalis seems to have put microphones at select tables to convince us that the audience was eating up every single note, he's otherwise to be commended for the audio quality of the recording. The sound has depth and natural presence without the annoying boosting of the bass that's endemic on jazz recordings these days. The other musicians on the date--especially Wessell Anderson--manage to impress while attending to their supportive roles. Overall, a solid entry for Mr. Marsalis.

This recording captures Wynton's live performance in an intimate setting as if you were seated third row center. Don't let others convince you that the audience gets in the way of the performance. This is pure give and take-between musicians and listeners. This is a true jazz experience as close as you'll get without being present at the recording.

Jazz critics have been hard on Wynton Marsalis because of his analytical style. If you are familiar with his work I think you can hear what the critics were talking about but I never thought they gave him enough credit for his incredible technique and creativity. On this recording he has created something special and the tired old criticism of his over-analytical style will be put to rest. The venue is intimate and the crowd response adds to the enjoyment of the listening experience. The sound quality is excellent and his ensemble is first-rate. Wynton comes alive in this recording and his improvisation is fresh, exciting and revealing. Wynton has a love for jazz that shines through in this live set. I personally feel it is one of the best jazz albums of the year and should be included in any jazz collection.

This is a good time. Marsalis' playing here is very nice, very confident, full of fun and clearly reveling in the exuberance of the audience. I'm a fan of live jazz recordings that capture a moment in time and give you a sense of the place and the atmosphere of the place. Live At The House of Tribes is successful on both counts. Enjoy.

After reading the other reviews for this album, I'd like to know what "cameristic" means. One reviewer seems quite fond of the word, but I can't find it in any dictionary. (Thanks, Jazzcat "steff", for clarifying. I understand what you mean now and agree with much of your review.)

That aside, I'd agree with the other reviews. Good music (even if not innovative, but that's Wynton), good sound recording, etc., etc. However, I disagree that the audience adds to the occasion. Some audience response is fine, but the producers seem to have convinced this bunch that they were the headliners. There's far too much hooting and hollering even when the players aren't doing anything particularly interesting. Had I been there that night, somebody might have gotten a bloody nose. Maybe me.

This recording certainly isn't as polished as "The Magic Hour" (highly recommended, by the way) but there sure is a lot of fun documented here. The opening track is on fire. Explosive. If only all the tracks were as strong. In fact, the album tends to lose the fire as the songs come to an end - but don't let that discourage you. For the most part - it's a good live recording. The sound quality is top notch. Highly enjoyable if you like the traditional jazz scene...

I have read many of the reviews and I must say that I'm so sorry that it has taken me so long to write a review. I was there at the concert that produced this great album and I want to let everyone know that microphones were not placed at every table. The theater which created this album is a small community theater which can only fit 30 people inside. It is extremely raw. The light board is made from a cat liter box with dimmers (normally used in a house) connected to it. The stage is very very small. Actually the theater is a manhattan flo-thru apartment converted to a theater. The microphones were placed where no one could see and everyone actually forgot that we were even recording, oh yeah and by the way the entire staff of the evening was young people from the community eager to learn about producing. This was an evening never to be repeated because it was an effort of love. NO big pricetag, most of the workers and recorders were volunteers, but our philosophy is that all things are possible with love, intellect and force. When you listen to this album you are listening to "the impossible" nothing staged just a whole lot of feeling being shared by all, musicians, audience and crew. HOPE YOU ENJOY!

The sound quality on this cd is spectacular. If you ever wondered what it would be like to be sitting in the middle of the stage while Wynton and his band are playing, here it is. This cd transports you to the time and place of this recording. It is also a very relaxed performance of a tight band that is having fun with their talent and challenging each other to excell. And wow do they! If you like formal tight arrangement kind of jazz (I kind of prefer that generally) this cd might not be your favorite but if you enjoy musicianship and improvisation man are you going to love this one! I have several of Wynton's cds including his stellar Live at the Village Vanguard set and I have never heard him play like this! But even more enjoyable is that his band keeps up with him every step of the way and keeps pushing him further. Personally I can not see how this isn't considered one of the great jazz cds of all time. Don't let this one slip by pick it up and enjoy it. Just plain out and out wow!

It was nice hearing the serious Wynton Marsalis having fun. I wish I had been there. The music was superb as usual. In the background it sounded like ties were off, shirts comfortably unbuttoned and having a good old time. More music like that is appreciated. It's about time you loosened up a bit Mr. Marsalis