Delfeayo Marsalis: Kalamazoo

Troubadour Records
By Ric Bang
Buy CD: Kalamazoo

The Marsalis family remains one of the most famous gatherings of jazz artists in existence. Father Ellis is a pianist and teacher; Wynton, the best known, plays the trumpet; eldest brother Branford chose saxophone. Their brother Delfeayo, the trombonist, is featured here. 

Delfeayo is much more than an instrumentalist and composer; he’s also an educator and producer, and his work in recording techniques has earned him both Grammy and 3M Visionary Awards. Although he has played with many well-known jazz artists and groups, this is his first live album, recorded during a concert at Western Michigan University. The players’ reactions and comments can be heard during the performance.

Delfeayo heads a quartet that consists of his father, Ellis, on piano; Reginald Veal on bass; and Ralph Peterson on drums.

The album menu is traditional in that the tunes are familiar: “Autumn Leaves,” “My Funny Valentine,” “If I Were a Bell” and “It Don’t Mean a Thing,’ among others. Almost all the swingers use a blues format, including the theme from Sesame Street. It obviously was a very relaxed and entertaining concert; one of the charts even includes participation by two audience members. Everyone had a ball!

You will, as well.

Delfeayo Marsalis: The Last Southern Gentleman

Troubadour Jazz
By Ric Bang
Buy CD: The Last Southern Gentleman

Most fans are familiar with the Marsalis clan, often known as the “First Family of Jazz.” Eighty-year-old Ellis plays piano, followed by sons Wynton, Branford and Delfeayo on (respectively) trumpet, tenor sax and trombone. This album features Ellis and Delfeayo, with support from bassist John Clayton and drummer Marvin “Smitty” Smith. 

The menu is a treasure trove of melodies from the Great American Songbook; my generation grew up with 12 of these 13 tracks, which also probably are familiar to a lot of our older children. “The Man with Two Left Feet” could be considered the least-known outlier. But who can forget standards such as “Autumn Leaves,” “She’s Funny That Way,” “My Romance,” “I Cover the Waterfront,” “If I Were a Bell” and the many others? 

Ellis Marsalis is a pianist for all ages. He’s both tasteful and an impressive swinger; you can’t listen to him without snapping fingers or moving some part of your body. He spends more time teaching than recording, which has been the case for many years. Aside from his sons, his numerous students have included Harry Connick Jr. and Terence Blanchard. And during Ellis’ earlier years, he played with icons such as Al Hirt and the Adderley Brothers.

Delfeayo has served as a sideman for both Wynton and Branford, as well as alongside leaders such as Ray Charles, Art Blakey and Elvin Jones; he has headed his own groups since the late 1990s. He was influenced by J.J. Johnson, but Delfeayo has a more “musical” style. 

Needless to say, Ellis and Delfeayo are an excellent match. Clayton is one of the greats on bass, and Smith delivers a groovin’ rhythm section. 

The liner notes are provided by Delfeayo, who also produced this disc; the commentary is excellent and entertaining. I’d expect no less from a great release that offers such swinging music.

Holiday Jazz 2011: Santa still has plenty of swing

By Derrick Bang • Originally published in The Davis Enterprise, 12.14.11

[Web master’s note: Northern California film critic Derrick Bang — still the eldest, youngest and only son of this site’s jazz guru, Ric Bang — has surveyed the holiday jazz scene for roughly 16 years, with lengthy columns that just keep growing. Check out previous columns by clicking on the CHRISTMAS label below.]

Starting this annual column with an excellent disc always feels like a good omen, so let’s turn first to Ellis Marsalis’ A New Orleans Christmas Carol (ELM Records 19790). Long before Wynton and his many talented brothers became young cubs on the jazz scene, Daddy Ellis was roaring with the assurance of a venerable lion. He has gotten even better with time.

Although he contributed a few solo piano tracks to earlier anthology holiday albums for National Public Radio, Ellis Marsalis — surprisingly — hasn’t released his own Christmas disc until now. As the saying goes, this one was worth the wait.

The CD’s 20 tracks find Marsalis in four different modes: as soloist, leading a piano trio, leading a piano quartet with vibes accompaniment, and accompanying a vocalist. The combo arrangements are highlighted by driving keyboard work and lively percussion elements, starting with a funky, New Orleans-stompified cover of “The Little Drummer Boy.”

“O Little Town of Bethlehem” emerges as a slow samba, with a quiet bongo backdrop and some lovely work by Roman Skakun on vibes. Bassist Peter Harris stands out in a toe-tapping arrangement of “Sleigh Ride,” while Jason Marsalis delivers an equally delicious vibes lead, with Ellis’ piano comping behind him, on a solemn reading of “O Holy Night.”

Ellis’ solo piano treatments include an exquisite handling of “O Tannenbaum” and a charming run at “Have Yourself a Merry Little Christmas.”

The two vocals are this album’s only drawback. Cynthia Liggins Thomas and Johnaye Kendrick — on “A Child Is Born” and an Ellis Marsalis original titled “Christmas Joy,” respectively — simply try too hard. Their overwrought deliveries do no favors to the instrumentalists.

The album’s final track includes an Easter egg, so don’t remove the disc too quickly; after a lengthy pause, Marsalis delivers a third piano solo, this one of “The Little Drummer Boy.” That makes three versions of that carol on this disc: probably one too many in anybody else’s hands, but simply more jazz magic from Marsalis.

Definitely one of the season’s must-haves.

Eddie Harris and Ellis Marsalis: Homecoming

ELM Records
By Ric Bang • Originally published in The Davis Enterprise, 1.7.10
Buy CD: Homecoming

Sometimes it takes a child to bring the parent into the light.

Ellis Marsalis, born in 1934, is regarded by many as the premier modern New Orleans jazz pianist ... although for a long time he wasn't well known outside that area. He began as a clarinetist, joined the Marines and, while stationed in Southern California, honed his skills on piano.

After his discharge, he returned to New Orleans, married and helped raise six sons, most of whom became well-known musicians. Two of them, Wynton and Bradford, had a lot to do with transforming their father into a nationally known star.

Ellis Marsalis met Chicago-born tenor sax artist Eddie Harris in the 1970s; they recorded the original Homecoming album in the mid-'80s. The record company disappeared shortly thereafter, as did the album. Almost 24 years later, at a concert in Toledo, Ohio, the pair agreed to record again; the original 42-minute Homecoming menu was expanded to 70 minutes by adding material recorded during the Toledo session.

The result is ... interesting. Marsalis' style was, and still is, more “traditional” than what Harris does. Marsalis' New Orleans roots are evident, and I find them more musical; Harris is “farther out.” At times, they clash. Even so, the result is pleasant, and reincarnating the original with some new material is worthwhile.