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Jason Marsalis Live

Jason Marsalis

Jason Marsalis Live

Price: € 19.95
Format: CD
Label: Basin Street
UPC: 0652905030622
Catnr: BSR 03062
Release date: 11 September 2020
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Label
Basin Street
UPC
0652905030622
Catalogue number
BSR 03062
Release date
11 September 2020

"Jason has gone through his own development, more or less outside of the almost royal status of his musical family. He has developed from an extremely talented drummer to a more than full-fledged percussionist with sticks on both the vibraphone, the xylophone, the marimba and similar instruments. A successful bandleader and composer, this album is an important step in his career."

Rootstime, 01-9-2020
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Artist(s)
Composer(s)
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About the album

On May 5, 2017 an all-star roster of Basin Street Records recording artists came together to celebrate the kickoff of BSR’s 20th anniversary at the historic jazz venue, the Little Gem Saloon. The evening began with an energetic set by renowned percussionist Jason Marsalis of the musical Marsalis family. That full set is now available as Jason Marsalis’s first ever live album, Jason Marsalis Live, out on Basin Street Records—the home of New Orleans best music—in digital format.

Jason Marsalis Live features the seasoned percussionist on vibes accompanied by Oscar Rossignoli on piano, Jasen Weaver on bass, and Gerald Watkins on drums, and finds the quartet playing a mix of new and old original material by Jason Marsalis. The Live album structures itself as a retrospective through Marsalis’s writing career working from most recent backwards. The opening tunes “Ratio Man Strikes Again,” “Passionate Dancer,” and “Bourbon Street Ain’t Mardi Gras” all come from his most recent release Melody Reimagined: book 1 an album comprised of contrafacts, songs composed using the chord progressions of existing songs, but with new melodies. “Ballet Class” comes from the critically acclaimed 2013 album In A World of Mallets, an album Mark Shapiro of DMX/Mood Media called “a candidate for record of the decade . . . a masterpiece.” The latter half of the album dives deeper into Marsalis’s discography featuring two tracks from his first two albums on Basin Street Records, “Short Story #1” from Music in Motion and “At The House, In Da Pocket” from The Year of the Drummer.

Jason Marsalis Live attests to Marsalis’s commitment to constantly grow as a musician. Despite early acknowledgement in his career as a “young phenom” and his status as a member of a family of musical royalty, Marsalis has kept his head down to progress his own career advancing from being an extremely talented genius drummer; expanding into a full-fledged mallet percussionist mastering vibraphone, xylophone, marimba, and other malleted instruments; to becoming an accomplished bandleader and thoughtful songwriter, while retaining all of his previous accolades.
Time will tell how Jason Marsalis will continue to grow and carve out his space in the annals of jazz history, but for the time being we can sit back and enjoy the music. Jason Marsalis Live is a vital step in that process.

Jason Marsalis Live will be available in digital formats from all of your favorite digital services, and from BasinStreetRecords.com (includes digital booklet). Please consider purchasing the album directly from Basin Street Records, as this makes a huge difference in supporting both Jason Marsalis and Basin Street Records. Please keep an eye on Jason’s and Basin Street Records’ social media accounts for notifications of upcoming live broadcasts.
Am 5. Mai 2017 traf sich eine All-Star-Liste von Basin Street Records-Aufnahmekünstlern, um im historischen Jazzlokal Little Gem Saloon den Auftakt zum 20-jährigen Bestehen der BSR zu feiern. Der Abend begann mit einem energiegeladenen Set des renommierten Perkussionisten Jason Marsalis aus der musikalischen Marsalis-Familie. Das komplette Set ist jetzt als Jason Marsalis' erstes Live-Album überhaupt, Jason Marsalis Live, bei Basin Street Records - der Heimat der besten Musik aus New Orleans - in digitaler Form erhältlich.

Jason Marsalis Live zeigt den erfahrenen Perkussionisten am Vibraphon, begleitet von Oscar Rossignoli am Klavier, Jasen Weaver am Bass und Gerald Watkins am Schlagzeug. Das Quartett spielt eine Mischung aus neuem und altem Originalmaterial von Jason Marsalis. Das Live-Album strukturiert sich als eine Retrospektive durch Marsalis' schriftstellerische Laufbahn, die von den jüngsten Entwicklungen zurückreicht. Die Eröffnungsmelodien "Ratio Man Strikes Again", "Passionate Dancer" und "Bourbon Street Ain't Mardi Gras" stammen alle aus seiner jüngsten Veröffentlichung Melody Reimagined: book 1, einem Album, das aus Kontrafakten besteht, Liedern, die unter Verwendung der Akkordfolgen bestehender Lieder, aber mit neuen Melodien komponiert wurden. "Ballet Class" stammt aus dem 2013 erschienenen, von der Kritik gefeierten Album "In A World of Mallets", einem Album, das Mark Shapiro von DMX/Mood Media als "ein Kandidat für die Platte des Jahrzehnts ... ein Meisterwerk" bezeichnete. Die zweite Hälfte des Albums taucht tiefer in Marsalis' Diskografie ein und enthält zwei Titel aus seinen ersten beiden Alben bei Basin Street Records, "Short Story #1" aus Music in Motion und "At The House, In Da Pocket" aus The Year of the Drummer.

Jason Marsalis Live zeugt von Marsalis' Engagement, als Musiker ständig zu wachsen. Trotz der frühen Anerkennung in seiner Karriere als "junges Phänomen" und seines Status als Mitglied einer musikalischen Adelsfamilie hat Marsalis seinen Kopf bedeckt gehalten, um seine eigene Karriere voranzutreiben: von einem extrem talentierten genialen Schlagzeuger, der sich zu einem vollwertigen Mallet-Perkussionisten entwickelt hat, der Vibraphon, Xylophon, Marimba und andere geschlagene Instrumente beherrscht, zu einem versierten Bandleader und nachdenklichen Songschreiber, während er alle seine früheren Auszeichnungen beibehält.
Die Zeit wird zeigen, wie Jason Marsalis weiter wachsen und sich seinen Platz in den Annalen der Jazzgeschichte erobern wird, aber vorerst können wir uns zurücklehnen und die Musik genießen. Jason Marsalis Live ist ein wichtiger Schritt in diesem Prozess.

Artist(s)

Jason Marsalis (vibraphone)

From a tender young age it was clear that Jason Marsalis had what it took to be great. Jason is the son of pianist and music educator Ellis Marsalis and his wife Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and their patriarch Ellis, comprise New Orleans venerable first family of jazz.   Ellis and Dolores began to cultivate Jason’s interest in music at age three, with the purchase of a toy set of drums. Jason is fond of telling the story of a game he and his parents would play with the drums. “When I was three, my parents bought me a toy drum set and the used to introduce me to an imaginary audience. They...
more
From a tender young age it was clear that Jason Marsalis had what it took to be great. Jason is the son of pianist and music educator Ellis Marsalis and his wife Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and their patriarch Ellis, comprise New Orleans venerable first family of jazz.
Ellis and Dolores began to cultivate Jason’s interest in music at age three, with the purchase of a toy set of drums. Jason is fond of telling the story of a game he and his parents would play with the drums. “When I was three, my parents bought me a toy drum set and the used to introduce me to an imaginary audience. They would say, ‘Ladies and gentleman introducing the fabulous Jason!’ and I would come out and start banging away much to my parents delight. I too enjoyed it to the point that I started to go up to my parents unsolicited and say, ‘Dad, introduce me again!’” By age six, not only had Jason gotten his first real drum set, but he was also taking lessons from the legendary New Orleans drummer James Black. At age seven he was sitting in with his father’s jazz group, as well as playingwith his trombonist brother Delfeayo. Jason was progressing so rapidly as a drummer that in 1984 his father started using him consistently on engagements. Jason was starting to become a seasoned road veteran before the age of nine, even traveling to the prestigious Berklee School of Music in Boston for older brother Delfeayo’s recital.
Though Jason had also taken up violin at age five, drums remained his primary focus throughout his grade school years. However, in his last year living in Richmond, VA,it was as a member of a junior youth orchestra that he first discovered the percussion section. The following year, Jason gave up the violin and focused exclusively on percussion. In 1991, he auditioned and was accepted to the acclaimed New Orleans Center for the Creative Arts High School (NOCCA). Throughout his high school years he continued to hone his skills by playing gigs with his father and brothers, as well as studying orchestral percussion techniques at the venerable Eastern Music Festival. Shortly after graduation from NOCCA in 1995, Marsalis ascended to the drum throne of a new group lead by virtuoso pianist and former sideman for Wynton Marsalis, Marcus Roberts. Despite a demanding touring schedule with Roberts, Marsalis furthered his educational goals by attending Loyola University in New Orleans, as well as studying composition with notable classical composer, Roger Dickerson. While Marsalis made appearances with such international jazz luminaries as Joe Henderson and Lionel Hampton, he was visible on the New Orleans scene working with a diverse cross section of bands from Casa Samba (Brazilian), Neslort (jazz fusion) Summer Stages (children’s theater), Dr. Michael White (traditional jazz) and many others. It was in 1998 that he co-founded the Latin-jazz group Los Hombres Calientes. While recording two albums with the group, Marsalis also produced two albums under his own name, Year of the Drummer (1998) and Music in Motion (2000), as well as producing reissues and current recordings of his father on their self-owned label, ELM Records.
In 2000, Jason left the Los Hombres group to attain more focus with the Marcus Roberts trio. It was around that time the Marsalis started to play the vibraphone on gigs in New Orleans. This evolved in yet another chapter in Marsalis’ career as he recorded on the vibes with clarinetist Tim Laughlin and drummer Shannon Powell while starting to lead his own band on vibes. In 2005, Marsalis’ made a recording of George Gershwin’s “Concerto in F” with the Marcus Roberts Trio and the Saito Kinen orchestra. It was a project that involved fusing jazz and classical music and it was an important moment for the Trio. While this exciting event was taking place in Tokyo, Japan, it was marred by the events happening in his hometown, Hurricane Katrina. Even though his career took a slight hit after that event and living in Brooklyn for a year, Jason returned to New Orleans in 2007 to put the pieces back together. After returning to New Orleans in 2007, his reach with the types of bands widened considerably. Early that year he recorded with John Ellis and Doublewide on a well received album entitled “Dance Like There’s No Tomorrow”. He also recorded and produced an album of Thelonious Monk’s music with his father entitled “An Open Letter to Thelonious”. In January of 2008, the New Orleans Center for Creative Arts (NOCCA) called for him to start teaching the students. He also started working on the traditional jazz scene with musicians such as Lars Edegran and Tommy Sancton at Preservation Hall and Palm Court Jazz Cafe. It was in April of 2008 that Marsalis was asked to play the vibraphone with the legendary Lionel Hampton Orchestra at the Ogden Museum in New Orleans. In fall of that year, he was on a double-bill tour with Double-wide and a jazz-fusion group from Denton, Texas, Snarky Puppy. After that tour, Marsalis would make guest appearances with the group and has developed a following amongst the groups fans.
In 2009, the Marsalis Family would receive the NEA Jazz Masters award. In June of that year, the family would appear at the White House and the Kennedy Center to do a tribute show to their father. The concert was made into an album entitled, “Music Redeems”. Later that year, Marsalis would release his first new album in 9 years and his debut album on vibes, “Music Update”. In 2010, the bassist from the Lionel Hampton Orchestra, Christian Fabien, called him to participate in a recording session with drummer Ed Littlefield and pianist Reuel Lubag. The made two records, Christian’s “West Coast Session” and Ed’s “Walking Between Worlds”. The latter would include folk songs from the leader’s native Alaskan Tlingit tribe from his hometown of Sitka, Alaska. That project inspired the group to be named the Native Jazz Quartet, a group that would arrange folk songs into jazz tunes. Their first recording of that concept was “NJQ Stories”, recorded in 2012. Marsalis was involved in another genrebreaking collaboration as the Marcus Roberts Trio released an album with banjoist Bela Fleck. The combination of jazz and bluegrass was entitled “Across the Imaginary Divide” and the unit toured successfully that year.
2013 was a monumental year in which Marsalis released his next recording as a leader on vibes entitled “In a World of Mallets”. The album went to number 1 on the JazzWeek Radio Charts and also won an Offbeat Magazine award, a New Orleans music magazine, for best Contemporary Jazz Album. Marsalis also participated in a session produced by Bill Cosby by playing vibes for music used in Cosby’s Comedy Central special, “Far From Finished”. There was even recordings from the drum kit as Marcus Roberts released three recordings that year. Two with Wynton Marsalis, “Together Again – In the Studio” and “Together Again – Live in Concert”, and the ambitious original trio suite from Roberts, “From Rags to Rhythm”. 2014 found Marsalis further pushing the limits of modern jazz with The 21st Century Trad Band—keeping with his quartet configuration and further solidifying his place among the greats of mallet instruments.
With each passing year Jason Marsalis continues to grow and develop as both a composer and performer. With a fire in his heart and a passion for the music, his will to swing has never been more resolute. The maturity and the command he possesses over his music is clearly evident to those who have heard or seen him.

less

Composer(s)

Jason Marsalis (vibraphone)

From a tender young age it was clear that Jason Marsalis had what it took to be great. Jason is the son of pianist and music educator Ellis Marsalis and his wife Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and their patriarch Ellis, comprise New Orleans venerable first family of jazz.   Ellis and Dolores began to cultivate Jason’s interest in music at age three, with the purchase of a toy set of drums. Jason is fond of telling the story of a game he and his parents would play with the drums. “When I was three, my parents bought me a toy drum set and the used to introduce me to an imaginary audience. They...
more
From a tender young age it was clear that Jason Marsalis had what it took to be great. Jason is the son of pianist and music educator Ellis Marsalis and his wife Dolores, and the youngest sibling of Wynton, Branford and Delfeayo. Together, the four brothers and their patriarch Ellis, comprise New Orleans venerable first family of jazz.
Ellis and Dolores began to cultivate Jason’s interest in music at age three, with the purchase of a toy set of drums. Jason is fond of telling the story of a game he and his parents would play with the drums. “When I was three, my parents bought me a toy drum set and the used to introduce me to an imaginary audience. They would say, ‘Ladies and gentleman introducing the fabulous Jason!’ and I would come out and start banging away much to my parents delight. I too enjoyed it to the point that I started to go up to my parents unsolicited and say, ‘Dad, introduce me again!’” By age six, not only had Jason gotten his first real drum set, but he was also taking lessons from the legendary New Orleans drummer James Black. At age seven he was sitting in with his father’s jazz group, as well as playingwith his trombonist brother Delfeayo. Jason was progressing so rapidly as a drummer that in 1984 his father started using him consistently on engagements. Jason was starting to become a seasoned road veteran before the age of nine, even traveling to the prestigious Berklee School of Music in Boston for older brother Delfeayo’s recital.
Though Jason had also taken up violin at age five, drums remained his primary focus throughout his grade school years. However, in his last year living in Richmond, VA,it was as a member of a junior youth orchestra that he first discovered the percussion section. The following year, Jason gave up the violin and focused exclusively on percussion. In 1991, he auditioned and was accepted to the acclaimed New Orleans Center for the Creative Arts High School (NOCCA). Throughout his high school years he continued to hone his skills by playing gigs with his father and brothers, as well as studying orchestral percussion techniques at the venerable Eastern Music Festival. Shortly after graduation from NOCCA in 1995, Marsalis ascended to the drum throne of a new group lead by virtuoso pianist and former sideman for Wynton Marsalis, Marcus Roberts. Despite a demanding touring schedule with Roberts, Marsalis furthered his educational goals by attending Loyola University in New Orleans, as well as studying composition with notable classical composer, Roger Dickerson. While Marsalis made appearances with such international jazz luminaries as Joe Henderson and Lionel Hampton, he was visible on the New Orleans scene working with a diverse cross section of bands from Casa Samba (Brazilian), Neslort (jazz fusion) Summer Stages (children’s theater), Dr. Michael White (traditional jazz) and many others. It was in 1998 that he co-founded the Latin-jazz group Los Hombres Calientes. While recording two albums with the group, Marsalis also produced two albums under his own name, Year of the Drummer (1998) and Music in Motion (2000), as well as producing reissues and current recordings of his father on their self-owned label, ELM Records.
In 2000, Jason left the Los Hombres group to attain more focus with the Marcus Roberts trio. It was around that time the Marsalis started to play the vibraphone on gigs in New Orleans. This evolved in yet another chapter in Marsalis’ career as he recorded on the vibes with clarinetist Tim Laughlin and drummer Shannon Powell while starting to lead his own band on vibes. In 2005, Marsalis’ made a recording of George Gershwin’s “Concerto in F” with the Marcus Roberts Trio and the Saito Kinen orchestra. It was a project that involved fusing jazz and classical music and it was an important moment for the Trio. While this exciting event was taking place in Tokyo, Japan, it was marred by the events happening in his hometown, Hurricane Katrina. Even though his career took a slight hit after that event and living in Brooklyn for a year, Jason returned to New Orleans in 2007 to put the pieces back together. After returning to New Orleans in 2007, his reach with the types of bands widened considerably. Early that year he recorded with John Ellis and Doublewide on a well received album entitled “Dance Like There’s No Tomorrow”. He also recorded and produced an album of Thelonious Monk’s music with his father entitled “An Open Letter to Thelonious”. In January of 2008, the New Orleans Center for Creative Arts (NOCCA) called for him to start teaching the students. He also started working on the traditional jazz scene with musicians such as Lars Edegran and Tommy Sancton at Preservation Hall and Palm Court Jazz Cafe. It was in April of 2008 that Marsalis was asked to play the vibraphone with the legendary Lionel Hampton Orchestra at the Ogden Museum in New Orleans. In fall of that year, he was on a double-bill tour with Double-wide and a jazz-fusion group from Denton, Texas, Snarky Puppy. After that tour, Marsalis would make guest appearances with the group and has developed a following amongst the groups fans.
In 2009, the Marsalis Family would receive the NEA Jazz Masters award. In June of that year, the family would appear at the White House and the Kennedy Center to do a tribute show to their father. The concert was made into an album entitled, “Music Redeems”. Later that year, Marsalis would release his first new album in 9 years and his debut album on vibes, “Music Update”. In 2010, the bassist from the Lionel Hampton Orchestra, Christian Fabien, called him to participate in a recording session with drummer Ed Littlefield and pianist Reuel Lubag. The made two records, Christian’s “West Coast Session” and Ed’s “Walking Between Worlds”. The latter would include folk songs from the leader’s native Alaskan Tlingit tribe from his hometown of Sitka, Alaska. That project inspired the group to be named the Native Jazz Quartet, a group that would arrange folk songs into jazz tunes. Their first recording of that concept was “NJQ Stories”, recorded in 2012. Marsalis was involved in another genrebreaking collaboration as the Marcus Roberts Trio released an album with banjoist Bela Fleck. The combination of jazz and bluegrass was entitled “Across the Imaginary Divide” and the unit toured successfully that year.
2013 was a monumental year in which Marsalis released his next recording as a leader on vibes entitled “In a World of Mallets”. The album went to number 1 on the JazzWeek Radio Charts and also won an Offbeat Magazine award, a New Orleans music magazine, for best Contemporary Jazz Album. Marsalis also participated in a session produced by Bill Cosby by playing vibes for music used in Cosby’s Comedy Central special, “Far From Finished”. There was even recordings from the drum kit as Marcus Roberts released three recordings that year. Two with Wynton Marsalis, “Together Again – In the Studio” and “Together Again – Live in Concert”, and the ambitious original trio suite from Roberts, “From Rags to Rhythm”. 2014 found Marsalis further pushing the limits of modern jazz with The 21st Century Trad Band—keeping with his quartet configuration and further solidifying his place among the greats of mallet instruments.
With each passing year Jason Marsalis continues to grow and develop as both a composer and performer. With a fire in his heart and a passion for the music, his will to swing has never been more resolute. The maturity and the command he possesses over his music is clearly evident to those who have heard or seen him.

less

Press

Jason has gone through his own development, more or less outside of the almost royal status of his musical family. He has developed from an extremely talented drummer to a more than full-fledged percussionist with sticks on both the vibraphone, the xylophone, the marimba and similar instruments. A successful bandleader and composer, this album is an important step in his career.
Rootstime, 01-9-2020

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