Customer Reviews

Think of One

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

 

 

Hard to believe now, but 20 years ago most commercially successful jazz could either be classified under trendy funk (anyone remember Herbie Hancock's "Rockit"?), electronic noodlings aimed toward a mass audience (Weather Report, Return to Forever) or MOR/adult contemporary piffle (Spyro Gyra). Coincidentally, it was at that point that I reached back toward the pioneers of the `50s and '60s -- Miles Davis, John Coltrane, and McCoy Tyner. Imagine my delight when a friend of mine told me of an artists who had the same influences -- and not only was he still recording, he was only in his early 20s!

Wynton Marsalis put himself on the map with this, his second album. From the atonal "Knozz-Moe-King" to the lament "Melancholia," Marsalis covers a wide range of styles, yet stays within himself. (Subsequent releases would frequently show even broader ambitions, but occasionally his reach would exceed his grasp.)

This album is the first one to pick up for those interested in hearing how jazz stepped back from the dead end of fusion back toward its roots.

Listening to the excerpts of this CD on amazon, I realised I have this album on cassette (some friend taped it for me many years ago). This was a discovery for me in the jazz world, and has been one of my initiation albums to real jazz. The music is excellent, and Wynton plays beautifully. I immediately became a Marsalis fan, and a trumpet lover (I used to prefer the saxophone). You won't be dissapointed by this album. I've listened to many other W. Marsalis albums, and this is surely one of his best...despite his young age. Enjoy!

My first impression of Wynton Marsalis was that he was talented but more concerned with professionalism than any creativity. But I was wrong - while his playing isn't very original, mostly taking cues from Miles Davis (not that there's anything wrong with that), he does interesting, progressive things with his melodies, much like a more accessible Monk - for instance, "Knozz-Moe-King" has a very idiosyncratic melody which is bolstered by his strong, bebop-influenced playing. Like Miles, he takes home high honors on the ballads ("Fuchsia"; "Melancholia", where he sounds more than a little like Mr. Davis) and also succeeds with energetic post-bop material ("My Ideal"; "What Is Happening Here (Now?)"). The most interesting song, though not the best by any means, is Monk's title tune, where Wynton coaxes some strange effects out of his instrument. His brother Branford Marsalis also makes some memorable contributions on soprano sax - he might even be a better soloist than his brother, and it's a shame he threw the guy out; Kenny Kirkland's piano fills are fantastic as well. All the experimentation goes a step too far on "The Bell Ringer", which is perhaps a bit too weird - other than that, this is a fantastic listen, challenging but worth it.

Wynton was still in his twenties when he made this album, but he certainly got it right. Terrific solos (by him and other members of the band), fantastic composition, and wonderful production make this an important recording to own. My favorite tune? Melancholia. The shortest tune, yet the one that touches my soul the most.

Wynton is an Artist whose music shouldn't be encapsulated by such a narrow term as music. Time and time again, as on this second album, Wynton allows us to embark upon sojorns through eternity with him. He recants his souls' reverie against the ageless canvas that is hidden beyond black holes and distant universes. He is a dreamer who has never forgotten a single moment of any lifetime. He is an embracer of his art, his purpose and his eternity and his music is a reflection of this.
This album, Black Codes, The Midnight Blues and countless others prove out this simple thought about a simple man and his music who embraces eternity and generously shares it with all who are willing to hear. If you don't hear all of that when you listen, then you aren't listening...

I remember when this recording came out and Wynton Marsalis was being hailed as the second coming of jazz. I picked it up right away. I was mystified by the souless mimicry of Art Blakey's Jazz Messengers and Miles' 2nd great quintet--this punk was supposed to be the savior of jazz? Listen as Wynton negotiates technically difficult arrangements, stopping on a dime! Marvel at his ability to explore the full range of dynamics within two bars!! Gape in wonder at the fussy arrangement of Think of One that strips the tune of any semblence of swing!!! I get it, Wynton--you've mastered the trumpet, technically speaking, which is no mean feat. And you can read music. Bully for you. The only trouble is that you have nothing meaningful to say. Ordinarily, I'd feel sorry for you, having wasted all those hours of practice, except that you trashtalk musicians whose dirty drawers you aren't worthy of washing. People like John Coltrane, Joe Zawinul, Miles Davis, Wayne Shorter, Herbie Hancock...I could go on and on, but I think you get the point. This music is jazz by and for people who think that the best way to honor the past is to preserve it like a roach in amber, thus killing it.