Branford Marsalis

ELLIS MARSALIS CENTER FOR MUSIC TO OPEN IN NEW ORLEANS MUSICIANS’ VILLAGE

Ellis Marsalis Center for MusicELLIS MARSALIS CENTER FOR MUSIC TO OPEN IN NEW ORLEANS MUSICIANS’ VILLAGE

Center Named for Legendary Pianist and Educator Will Serve the Upper Ninth Ward and the Wider New Orleans Community


Musicians’ Village, Upper Ninth Ward, New Orleans, LA – August 8, 2011:  On August 25, 2011, as the sixth anniversary of Hurricane Katrina approaches, one of the most positive responses to the catastrophe that devastated New Orleans will be unveiled – The Ellis Marsalis Center for Music.  Located at 1901 Bartholomew Street in the heart of the Musicians’ Village in the Upper Ninth Ward, and named for one of the city’s most influential pianists, educators and living legends, the Center will serve as a state of the art facility for the preservation and ongoing development of New Orleans music and culture.
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Iconic Marsalis Family To Release A Live Album, "Music Redeems"

(JUNE 14, 2010)-  Marsalis Music and Redeye distribution are proud to announce the release of a rare new album by New Orleans’ own Marsalis family August 24, 2010 entitled “Music Redeems.” Read more »

A dedicated, open mind allows Branford Marsalis to have the world of music at his fingertips

Publication: Columbia Daily Tribune
Author: Amy Wilder
Date: February 1, 2015

Branford Marsalis is a musical polyglot. He is fluent in every language and genre, from classical to jazz, R&B and hip-hop, and his saxophone gives voice to something beyond words, defiant of traditional boundaries.

He will perform at the Missouri Theatre Feb. 8 as part of the “We Always Swing” Jazz Series; the date is this year’s University of Missouri College of Arts and Science Signature Concert. Marsalis brings with him a trio of longtime collaborators to round out his quartet: pianist Joey Calderazzo, bassist Eric Revis and relative newcomer, percussionist Justin Faulkner.

In Marsalis’ most recent release, “In My Solitude: Live at Grace Cathedral,” — recorded in 2012 and released last fall — the saxophonist’s haunting melodies fill the cavernous space of the San Francisco cathedral, dipping gracefully in and out of various genres with nods and homages, and the through line vacillates between jazz and classical styles.

Especially indicative of his tendency to scale musical boundaries is the track “Blues For One.” In it, he establishes an ambulatory shuffle blues rhythm and then adds a boogie-woogie melody on top of it. That he does that all with one instrument, playing into the echoes in the church, is incredible.

The transition to a solo performance was entirely natural for Marsalis; his catholic, fluid ability is something he attributes in part to his consumption of the work of other musicians; he draws analogies from another love — sports.

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Submitted by Courtney on February 2nd, 2015 — 10:46am

The Many Movements Of Branford Marsalis

Publication: WUNC’s The State of Things
Interviewer: Frank Stasio
Date: January 29, 2015

Frank Stasio from WUNC’s program The State of Things interviews Branford Marsalis and topics include Marsalis’s bandmates Joey Calderazzo and Justin Faulkner, performing with The Grateful Dead, and Branford’s most recent album, In My Solitude: Live at Grace Cathedral. Head over to WUNC’s website to listen to the full interview

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Nick DeRiso’s Best of 2014 (Blues, R&B + Jazz): D’Angelo, Paul Rodgers, Branford Marsalis

Publication: Something Else!
Author: Nick DeRiso
Date: December 21, 2014

There were surprises, and there were comebacks. There were consolidations, and amazing innovations. But what bound together these Best of 2014 selections was a streak of soulful emotion.

No. 3 — BRANFORD MARSALIS – IN MY SOLITUDE: LIVE AT GRACE CATHEDRAL (JAZZ): Never one to shy away from a big moment, Branford Marsalis brought his saxophones — and nothing else — to one of jazz’s most iconic settings. The results don’t supercede Duke Ellington’s initial 1960s-era Sacred Concert — held there, as well — so much as endeavor to expand the vocabulary of that stirring triumph. Ellington, back then, was focused on blending jazz, black gospel and classical into a kind of large-scale, yet intimate tapestry of emotion. Marsalis instead crafted more in miniature but at the same time, pushed in his own way to blur the lines between post-bop jazz and contemporary classical. In place of the sacred, he delved into modernity of free-form improv — and the results were stunning.

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Submitted by Courtney on January 20th, 2015 — 10:58am

Marsalis, Greene deliver albums of beauty, depth

Publication: Tribune-Review
Author: Bob Karlovits
Date: December 20, 2014

Everything about Branford Marsalis’ “In My Solitude” is excellent — or better. From the tone and improvisation of his play to high-quality recording that makes metallic clicking of his keys clear, the album is marvelous. It features a solo Marsalis offering music that is as new as four improvisations by him and as old as a sonata from C.P.E. Bach (1714-88). Of the four improvisations, No. 1 has the feeling of a piece from an etude book but with a modern flavor. He also offers a great bit of new playing on “Blues for One.” Read more »

Submitted by Courtney on December 22nd, 2014 — 04:26pm

Branford Marsalis: Recording, Live at Grace Cathedral

Publication: San Francisco Classical Voice
Author: Jeff Kaliss
Date: December 19, 2014

Atop San Francisco’s Nob Hill, Grace Cathedral has long welcomed pilgrims of fine music as well as worshipers from the Episcopal Diocese of California. From the recorded sound of it, the solo concert presented there by veteran reed player Branford Marsalis, in October of 2012 was a spiritually enhancing experience transcending orthodox musical sects.

Marsalis, eldest of the four musical brothers in that New Orleans dynasty, hosted a delightfully ecumenical program that took in the American songbook, a TV show theme song, rhythm and blues, the austere borderland of New Music and jazz, and a sonata by C.P.E. Bach, as well as his own through-composed pieces and four diverse improvisations.

Along the way, Marsalis showcased his soprano, alto, and tenor saxophones, but coaxed unfamiliar sounds from the instruments, in the process making consciously varied use of the echo qualities of the spacious structure, and spontaneous use of unanticipated phenomena.

On his “Improvisation No. 3,” for example, Marsalis mimicked the venue’s echo by repeating certain phrases of his invention. Midway through the session, a siren passing on California Street made itself audible, acknowledged with a honk from the tenor sax.

The high-wire thrill of performing solo without any other instrumental support was matched by manifestation of a unique sort of freedom. On Hoagy Carmichael’s “Stardust,” absent the time-keeping rhythm section with which his jazz fans are accustomed to hearing Marsalis, the saxophonist was free both to move through extended impressionist passages before stating the familiar melodic theme, and to elasticize the lines of that theme to his heart’s content.
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Submitted by Courtney on December 22nd, 2014 — 03:41pm

Branford Marsalis: In My Solitude: Live at Grace Cathedral (Review)

Publication: Relix.com
Author: Jeff Tamarkin
Date: December 11, 2014

In jazz, certain instruments lend themselves well to solo performance more than others: Most major pianists, at one time or another, play a solo concert and solo guitar is also plentiful in the concert hall and on record. Saxophone is riskier—sans rhythm section, the saxophonist must hold the attention of the listener via the sheer strength of melody or, with avant-gardists who’ve gone this route, ear-bending experimentalism. Branford Marsalis’ 2012 performance at San Francisco’s regal Grace Cathedral is never in danger of losing its way or its audience. Read more »

Submitted by Courtney on December 16th, 2014 — 05:14pm

Branford Marsalis – In My Solitude: Live at Grace Cathedral – Sony/Okeh, 64:57 – [10/28/14] *****

Publication: Audiophile Audition
Author: Jeff Krow
Date: October 26, 2014

Playing a solo recital concert in a sacred and iconic cathedral is quite an undertaking. Such is the task that the adventurous saxophonist Branford Marsalis took on when he played in a solo setting at the Grace Cathedral in San Francisco on Oct. 5, 2012. This famous cathedral was the setting for Duke Ellington’s famous Sacred Concerts in the 1960s, and since 1983 it has been used for jazz, baroque, and classical concerts. Its acoustics are marvelous and its setting is inspiring to both musicians and audiences. Its beauty is comparable to cathedrals in Europe. [And it has an outdoor labrinyth…Ed.]
 
For his repertoire Branford included composed and improvised material ranging from Bach, compositions by Steve Lacy and Ryo Noda, and Hoagy Carmichael’s “Stardust.” Marsalis titled his improvisations simply “Improvisations 1-4.” They were composed “on the spot” based on the vibe that was present in the cathedral at the time. 

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Submitted by Courtney on November 5th, 2014 — 01:22pm

'Well-Tempered' Marsalis brings Baroque classics to BU

Publication: Press & Sun Bulletin
Author: Chris Kocher
Date: October 22, 2014

When most people think of Grammy Award-winning saxophonist and composer Branford Marsalis, the first thing that comes to mind is jazz — and rightly so.
 
After all, he shares his birthplace with jazz music itself — New Orleans — and he grew up in a talented musical household. His pianist father, Ellis Marsalis Jr., earned critical praise for his modernist take on the distinctly American genre and, as an educator, taught others how to swing. It’s no surprise that Branford and brothers Wynton (trumpet), Delfeayo (trombone) and Jason (drums) took up the family business, too.
 
However, he says, “classical music has always been an interest for me. Performing it is something that has developed over the last 10 years, but I’ve been listening to it since I was a kid.”
 
What he needed was the opportunity, and that developed organically out of his 2001 album “Creation” with the Orpheus Chamber Orchestra, which featured works by Ravel, Milhaud and Debussy. Since then, among various jazz projects, he has toured the United States with the Philarmonia Brasileira (performing works by Brazilian composer Heitor Villa-Lobos) and performed with the New York Philharmonic.
 
His latest collaboration is a 20-city tour with the Chamber Orchestra of Philadelphia dubbed “Marsalis Well-Tempered,” which comes to Binghamton University’s Anderson Center on Tuesday night. The program focuses on Baroque masterpieces from the 17th and 18th centuries, transcribing oboe or violin solos for saxophone on pieces by Albinoni, Bach, Purcell, Handel, Vivaldi and others.
 
His latest album is a more singular affair: “In My Solitude” (to be released, coincidentally, on Tuesday by OKey Records) features a recording of a solo performance in San Francisco’s Grace Cathedral.
 
In an interview from Los Angeles last week, Marsalis spoke of the challenges of classical music versus jazz, as well as some of the best advice his dad ever gave to him.
 
QUESTION: What qualities do classical music and jazz share, and how are they different?
 
MARSALIS: I think the qualities that all styles of music share are that people like songs with a good beat and a strong melody, regardless of the genre.

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Submitted by Courtney on October 24th, 2014 — 12:21pm