Customer Reviews

From The Plantation To The Penitentiary

5 star:		(16)
4 star:		(6)
3 star:		(3)
2 star:		(1)
1 star:		(3)

 

 

Wynton Marsalis has never shied away from tackling controversial subjects in his music, but this latest outing may well qualify as his most outspoken and politicised attack on American social division and hypocrisy so far. As the title implies, he takes a withering look at a subject he has broached in depth before, the troubled and violent history of African-Americans, but with a lot more besides.
The excesses of rampant capitalism, the brazen exploitation of the entertainment industry, and the moral and political failings in the nation's leadership (expressed in, of all things for this notorious jazz purist, a spoken rap entitled "Where Y'all At?") all come under intense scrutiny. Four of the album's seven tracks feature his latest protégé, singer Jennifer Sanon, and the trumpeter is supported instrumentally by saxophonist Walter Blanding and a slick rhythm section that sails through the ever-changing rhythm patterns of the music, all carefully specified in the insert notes.

I'm not one for Jazz with vocals. This is simply amazing. The key here is the moving lyrics along with the sultry voice. It just matches like bread and butter. Jennifer Sanon is AMAZING.
Now onto the supporting cast. I don't know who Wyntons mates are on this release, but they sure know how to groove and swing and play really smooth ballads. The playing and soloing is stellar. This is just an incredible 60 minutes of musical pleasure. It runs the gammut from anger to hope, from vindication to awareness. Musically it goes back and forth and ends with Wyntons "rap", which I really dug and felt that it ended this performance on a stern, but thoughtful note.
All in all, if you want to hear a truly fine piece of work, this is definitely for you. This is a great way to spend an hour. Put the headphones on enjoy the funky acoustic bass, the very tight drumming, the beautiful voice and the trumpet and sax collage. It's just STELLAR. 5 bright glowing stars. Hats off to Wynton Marsalis.

First, this album is satisfying musically. I enjoy every composition, and my enjoyment is growing. Second, this collection makes a significant political statement that is well worth hearing. Though I haven't stayed abreast of the arguments, I know that Wynton Marsalis has his critics. I am just taking what he's saying on this album -- musically and otherwise -- and judging it on its own merits. Hence, five stars. He attacks much of contemporary American culture, from the political establishment to the hip hop culture, and does so incisively. The album just might turn out to be an important influence for the good, that is, that some people will turn from the objects of his well-deserved scorn and embrace some of the better alternatives that he offers (for example, see "Love and Broken Hearts"). But, of course, it's going to take a whole lot more than one album for us to cast off the all-too-abundant banality and ugliness. Still, here's an effort for the side of truth, goodness, and beauty from an artist who sees much from that high vantage point.

Like a previous reviewer I'm generally not one for vocal jazz, but this is unlike any that I've ever heard. I simply can't imagine a better voice (or lyrics). I generally have a hard time with the amount of vocals on jazz albums - in my opinion there always seems to be much or they try to be too powerful, but this is perfect. There's not a verse that doesn't fit in exactly where it should. The vocals compliment the music and vice versa, just as they should. The music itself is very tight and dripping with mood. This is a truly excellent album. I'll be on the lookout for more by Jennifer Sanon, and I'm already looking forward to what Wynton treats us to next.

A classic jazz master piece. The research and historical references are outstanding.The original music says it all. The more you listen the more meaning to the messages. Applicable as well to students of history and those wanting a better understanding to our present world situation. Certifies that music can be relevant and futuristic. Wynton adds to jazz being America's classical music.

The music was wonderful. The album would have been a hit even for the music. But the lyrics stole the day; they made you think. Another reviewer called Mr. Marsalis a racist and complained that he layed all of societies woes on "white Americans": I believe he must have listened to another album. Mr. Marsalis boldly and compassionately calls upon the black community to address many of their own woes from the misogyny of rap music to the indifference of the black middle class. That he also calls "white Americans" to task is appropriate, as we are ALL responsible for the mess we have allow OUR country to descend, and the predominantly white upper class hegemony continues on blissfully deconstructing democracy and our common brotherhood for their own comfort and gain. Further, many of the issues tackled by this album transcend race, not touching on it at all.

i love the harmonies, the way the music dances and the conversaitons of voice and instruments,good drum work.The music talks.
i love it.

milton clarke

If you want masterful jazz that uses the spoken word to give voice to tough social commentary, then this album is for you. Marsalis is a border-crosser. He is comfortable on the frontiers of jazz, the many flavors of pop, classical, etc. etc. And now he is speaking from a conscience that can be as smooth or incisive, direct or elliptical, passionate or cool, funky or cerebral as his music.

Time repeats itself. Time echoes itself. And as the saying goes, there ain't nothing new under the sun. Just as it is controversially appealing as it also is musically innovative, Wynton Marsalis' latest release, From the Plantation to the Penitentiary strikes more than just your average jazz listener. Accompanying on this project is his trio from the Magic Hour project and recent performances, Dan Nimmer, Carlos Henriquez, an Ali Jackson along with Walter Blanding on tenor and soprano saxophones. In a recent interview, Marsalis states that the penitentiary and the plantation are similar, not exactly the same but the style of bondage both produce a lot of income for the country as well as reduces an individual to a person less than what he or she is. He states that jazz music is a music of change and it's a music of engagement, intellectual and soul. All of these things must be included in the music to identify the style and topic of each song.

The title says it all. From the Plantation to the Penitentiary discusses the many ways African American culture has repeated itself symbolically over the centuries. This album and each of its tracks is a form of Evolution of the African American. Through the musicianship, lyrics, and dramatic vocals of Jennifer Sanon, we hear exactly how the culture has gone from slavery to mental bondage. The title track demonstrates how the chains we once wore now come in the form of various substance abuses and lowly public school systems with little resources to advance the upcoming generation.

The bittersweet ballad, "Love and Broken Hearts" demonstrates how relationships, courting, and other love drizzled mannerisms were all genuine at one point. A broken heart was actually possible to obtained when the love was deep enough. It wasn't the same as today's quick "hit and/or miss" theory of love. The question is heard and repeated throughout the ballad, "when did we forget our dance" and "how did we lose our song". It's all a matter of returning back to the basics and applying that life rule of reaching back to progress forward. "Pimps and hustlers, put up the Vaseline".

Supercapitalism is a very high paced track for high pace content. There's a portion of our culture that has eyes larger than our pockets. In this track we hear the gibberish of the song being based around, not only "super capitalism" but super materialism as well. The powerful project definitely makes it's statement into the industry of jazz as well as the African American culture and brings up the question of, who's willing to do something about this "history repeating itself". The closing track "Where Y'all At?" brings out Wynton's trademark New Orleans style rhythm and melody. Addressing everyone from upcoming youth leader's ministers, winos, all areas of the government and every dimension from the ghetto to the diplomats, in a spoken word rhyme the album itself attempts to serve as a cutoff in the generational let down of the African American culture once again being led from slavery to slavery, physical bondage to mental bondage...

From the Plantation to the Penitentiary.

I am a big Wynton Marsalis fan. I have many of his recordings going back to the earliest ones. I love all of them. This one does not work for me. Wynton has always been willing to speak about the problems of the world. This time it gets in the way of the music. I am not against music trying to make a statement but it needs to also be good music first.

I can't wait for the next Wynton release and hope he remembers to record some more of the wonderful music hea ha made in the past.