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Author: Subject: Jazz news

Zen Peach

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  posted on 2/26/2007 at 11:47 AM
Here is an interview from WGBH with Brandford Marsalis. Brandford stopped by WGBH's Studio One for a conversation with Eric Jackson. Marsalis offers an insider's perspective on the challenges and the value of honoring jazz's roots in today's pop-obsessed culture.



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Zen Peach

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  posted on 2/26/2007 at 01:45 PM
Reading in Rolling Stone that Don Cheadle has been chosen to play Miles Davis in an upcoming movie.

Cheadle to Channel Miles?

Don Cheadle is miles ahead of the pack when it comes to a Miles Davis biopic.

The Oscar nominee is atop the wish list of actors being considered to play the late jazz god in a planned movie project, according to Davis' nephew, Vince Wilburn, who broke the news after his uncle was posthumously inducted into the Rock and Roll Hall of Fame Monday night.

"People are submitting scripts to Sony Pictures," Wilburn told reporters. "A few names have come up [to play Davis], but Don Cheadle's name keeps coming up."

An unmatched trumpeter, composer and bandleader, Davis churned out one seminal album after another from the 1940s on and inspired generations of musicians by knocking down borders between jazz and other genres, including rock, funk, fusion and pop music.

Wilburn says the movie "could touch on many things, [such as] the way he changed music in different decades, from Bird to bebop to hip-hop and in between."

Like the critical and commercial hit biopics Ray and Walk the Line, the Davis film will likely mine Davis' music while delving into his personal demons, most notably a serious addiction to heroin. The film might also touch on his **** ly personality and "cool" mystique, and include such scenarios as his beat-down at the hands of New York City police outside the Birdland jazz club, which led to an unsuccessful suit against the city claiming the attack was racially motivated.

After dabbling in bebop as a sideman to Charlie Parker and then on his own with 1949's Birth of the Cool, he formed the Miles Davis Quintet, featuring fellow jazz great John Coltrane, for 1955's Round About Midnight. His most fertile period followed, producing 1957's Miles Ahead, 1958's Porgy and Bess, 1959's Kind of Blue and 1960's Sketches of Spain.

Inspired by the likes of Jimi Hendrix and Sly and the Family Stone, Davis went electric in the late 1960s, fusing jazz and rock with the polarizing albums Bitch's Brew (1969) and A Tribute to Jack Johnson (1970), and touring with Santana and the Grateful Dead.

His output dwindled as he coped with numerous health issues, including kidney problems stemming from sickle-cell anemia and diabetes, but he continued to tour and release albums until his death in 1991 from a stroke.

Davis' family has yet to settle on a screenplay or a director. However, the family is in talks with Antoine Fuqua, whose best known for directing Denzel Washington to an Oscar in 2001's Training Day.

Cheadle was not available for comment Tuesday. Reps for Sony also declined to discuss the Davis project.

In any case, the actor is on a hot streak. He picked up Best Actor Oscar nomination for last year's Hotel Rwanda and costarred and coproduced this year's Best Picture winner, Crash.


Don Cheadle Tapped For Miles Davis Biopic
Oscar-nominee Don Cheadle is in discussions to play Miles Davis in a movie biopic of the jazz great. Davis' nephew Vince Wilburn - who accepted the late trumpeter's award at the 21st Annual Rock And Roll Hall Of Fame induction ceremony in New York last night - is determined to keep his uncle's legacy alive by making the movie and is just waiting for the perfect script.

He said at Monday's star-studded celebration, "We're working with Sony (Pictures) on a biopic. We're gonna negotiate with Don Cheadle whose name keeps coming up to play Miles. It (the film) can touch on many things from the way he changed the wave of music of different decades from bee-bop to hip-hop and in between, and the personal side."


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True Peach

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  posted on 2/27/2007 at 12:45 PM
I like Don Cheadle as an actor quite a bit. He's got a great range. I think the match would work well.




Zen Peach

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  posted on 3/5/2007 at 02:48 PM
Thelonious Monk riding a new wave of attention

By Steve Paul , McClatchy Newspapers
Sunday, March 4, 2007
Here's the question: If jazz is America's classical music, could that mean Thelonious Sphere Monk is on the way to becoming the American Mozart?

Twenty-five years after his death, the pianist and composer with one of the most distinctive legacies in jazz has been riding a recent wave of attention.

Musicians have long played homage to him, but the release in late 2005 of a newly discovered concert recording Monk made 50 years ago with John Coltrane helped spark a Monk revival that has yet to subside. The disc has settled near the top of the Billboard jazz chart for 70 weeks or more.

Then last spring the Pulitzer Prize board awarded Monk a posthumous special citation, a measure of mainstream acceptance.

"Thelonious Monk went from being the complete, unequivocal outsider to me going to pick up a Pulitzer," his son, the drummer T.S. Monk, told me last year.

Lately the sounds I've been immersed in more than most belong to Monk. Odd, given that I've listened to him for close to four decades now.

Monk was perhaps not as prolific as Mozart, but he produced a string of indelible standards such as ""Round Midnight," "Blue Monk" and "Straight, No Chaser." And he nearly patented the image of jazzman as prophet from another sphere, as it were.

Monk's music requires you to shift the musical baseline of what your mind and body respond to. It means letting in his almost radical style - the twisted syncopations, the spilled droplets of notes, the gorgeous, silent gaps that suspend you in midair for fleeting thrills.

John Coltrane, the saxophonist who began to be great while playing alongside Monk in 1957, had a similar take from a musician's perspective. He said that playing with Monk was like walking into a room with no floor so you had to figure out how to stand up on your own.

"In an era when fast, dense, virtuosic solos were the order of the day, Monk was famous for his use of space and silence," said Robin D.G. Kelley, who's working on a Monk biography.

"As a composer, Monk was less interested in writing new melodic lines over popular chord progressions than in creating a whole new architecture for his music," Kelley said by e-mail. "In the end, though, I think Monk's own description of what he was trying to do is best: "Everything I play is different - different melody, different harmony, different structure."'

The tree of Monk's influence, slow-growing early in his career, has spread mightily since his death on Feb. 17, 1982.

The younger Monk keeps his father's legacy alive through a Washington-based institute and a family-sponsored record label. The Thelonious Monk Institute sponsors an international competition for young players and fosters jazz education in underprivileged or underserved locations.

Monk the son is proud of the way children respond to Monk's lilting, angular melodies.

"His music is remarkably digestible by any audience," he said.

It wasn't always so.

Monk was born in North Carolina in 1919, but his family moved to New York. There he studied piano, played church music and then jazz in the '30s.

He first caught the ear of New York's jazz world in the early 1940s. He was present at the birth of bebop, generating new paths of rhythm, speed and harmony with the likes of the trumpeter Dizzy Gillespie and the drummer Kenny Clarke.

Within time, he flared away from hard-driving, fill-'er-up bebop and into a world much his own.

For years even fellow musicians questioned the quirky rhythms and note clusters that emanated from his piano. Others began labeling him a genius.

When the postwar 1950s spawned what might have felt like the height of the hipster-jazz ethos, Monk had to lie low and scrimp. A trumped-up drug allegation caused him to lose his cabaret license, and he couldn't play in New York clubs for six years.

By 1957 Monk was back, and he invited Coltrane, recently fired by Miles Davis, to join him on an extended gig at the Five Spot Cafe. Just a few recordings have documented that period, but the annals of jazz have long buzzed about the quality of the music they made together.

Further confirmation arrived with the finding of that lost recording made Nov. 29, 1957, at Carnegie Hall.

Monk's quartet, featuring Coltrane on tenor sax, played two sets in a Thanksgiving concert, in a lineup that also featured Billie Holiday, Dizzy Gillespie and Ray Charles.

The Voice of America taped the proceedings, and the recordings landed at the Library of Congress, where they sat untouched until an archivist tripped across them in 2005. The discovery was heralded as one of the great jazz finds, and Blue Note - along with the family's Thelonious Records - had a hit: "Thelonious Monk Quartet With John Coltrane at Carnegie Hall."

It has been a staple on my iPod ever since.

The Thelonious label has been releasing previously unavailable material from odd and brilliant corners - live sessions in Europe, for example, some of which are packaged with DVDs. (See YouTube for some of those and other clips of Monk in performance.)

Another interesting project is one headed by Ben Riley, a drummer who drove Monk's rhythm section in the 1960s. Riley's Monk Legacy Septet, with arrangements by Don Sickler, transforms note-for-note Monk solos into pieces for four horns, guitar, bass and drums - that's right, no piano at all. From what I've heard of it, there's a scrubbed, almost formal sheen to the affair, even as the spiked melodies poke into your brain.

Monk's music wound down in the late 1960s, and he all but disappeared in 1973. He was only 64 when he died nine years later, leaving his near matchless body of work for the future. Few musicians worth hearing today fail to include Monk in their playbook.

A few weeks ago I heard the young pianist Jacky Terrasson make new with a Monk melody during a set at a New York jazz club. It's fitting. Terrasson's career got rocket-launched in 1993 after he won the Monk piano competition.

The sound of Monk seems to be everywhere in the jazz world. It's like one of those proverbial perpetual-motion machines - legendary, impossible and infinite all at the same time.

[Edited on 3/5/2007 by No1ToRunWith]


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Zen Peach

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  posted on 3/5/2007 at 02:54 PM

Miles Davis in 1959, during a recording session for the album "Kind of Blue" in Manhattan.

By Steve Greenlee | March 4, 2007

It's About That Time: Miles Davis on and off Record
By Richard Cook
Oxford University , 373 pp., illustrated, $27

Miles Davis has no secrets. His abuse of drugs and mistreatment of women have been fully documented. The last thing the world needs is another biography of the late trumpeter and bandleader. What we can use is Richard Cook's new book, "It's About That Time," which considers the man in light of his albums and serves as essential criticism for Milesophiles.

It's hard to imagine a more ideal writer for this project. Cook is the co author of the indispensable "Penguin Guide to Jazz on CD," with an eighth edition published last fall , and the editor of the esteemed British magazine Jazz Review.

Cook forgoes the details of Davis's bringing-up and private life (it's all been done before) and summarizes what we need to know in order to understand his music. Cook's mission is to hear the oeuvre of Miles Davis in a 21st-century context. Each chapter focuses on a particular album while bringing into the fold just about every other recording he ever did.

Davis's struggle against the norm was apparent as early as 1949, when he recorded the nonet sessions that would become known as " Birth of the Cool." Twice Cook describes Miles as an "uneasy fit" with bebop, which was the prevailing style of jazz at the time. Davis never pretended to possess the agility of Charlie Parker or Dizzy Gillespie, and so he created music on his terms. In the 1950s, he helped popularize hard-bop, which emphasized rhythm and melody over technical facility. "On the ballad 'It Never Entered My Mind,' which Davis plays with a cup mute, one can witness the first appearance of the ballad player who could silence noisy rooms and provoke tears," Cook writes.

But it wasn't enough for Davis , whose restlessness was perhaps his defining characteristic. His 1959 masterpiece, "Kind of Blue," its compositions based on scales rather than chord changes or melodies, was a landmark moment in jazz, but it was followed within the year by another shift, "Sketches of Spain," an ostensibly flamenco-flavored album of which Cook isn't entirely enamored: "If [arranger Gil] Evans and Davis felt they were securing a genuine truce between an American improviser's approach and the Spanish roots of the composer's inspiration, they failed."

The transience of Davis's band members is a recurring theme, one that can be seen as either a cause or an effect (but probably both) of his constant need to change his music. The quintet that produced some of his finest work -- the 1960s group that includes saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams -- is seen in a new light under Cook's astute observations. Williams, just 17 when he joined the band, gets much of the credit for propelling it toward the universal acclaim given sessions such as "The Complete Live at the Plugged Nickel" and "E.S.P.": " Williams's ease at any tempo was making the music faster, more driving, more open to rhythmical complexity."

Davis's journey toward electric music marked the most exciting -- and controversial -- time in his career. Some of the recording sessions confused even his own musicians, who didn't recognize their work on the cut-and-paste pastiche of "Bitches Brew" when it was released. The trumpeter's own playing adjusted as his allegiance to jazz-rock intensified and his use of electric guitars and electric keyboards compounded. The romantic, low-register whispers were replaced with piercing, upper-register stabs. "Whatever else he had gained in the way his music had turned, some of the long-form elegance of his acoustic days has been traded for thinking in sharp sentences rather than finely turned paragraphs," Cook writes. "It might be right for what he was doing, but one could understand the dismay of many long-term Miles admirers."

Cook smartly places the dark, brooding "Agharta" -- recorded live in Osaka, Japan, in 1975 -- among the highest points of Davis's career, and he is right to dampen the irrational effusion that critics have accorded comparatively lousy records. "Some of the plaudits given to it by commentators then and since make the dispassionate observer wonder if they are listening to the same record," he writes of "Tutu." He dismisses "Doo-Bop" as "a rote hip hop record which Davis often seems to have wandered into by accident."

All this adds up to intelligent, trustworthy criticism. Cook is clearly a fan of Miles Davis, but he's far from a cheerleader. "It's About That Time" brings fresh insight to a lifetime of music and can help even a longtime connoisseur hear it in a whole new way.


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Zen Peach

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  posted on 3/6/2007 at 09:20 AM

Music Review: John Coltrane/Red Garland Trio - Traneing In (Van Gelder)
Written by Big Geez
Published March 03, 2007

This is my fourth review (1, 2, 3) in a series of releases from Prestige Records that feature remastered versions of his own originals by legendary sound engineer Rudy Van Gelder, and in this instance we're listening to tenor sax immortal John Coltrane teamed with the Red Garland Trio.

The title of the album is Traneing In, and the original recordings were made in 1957 when Coltrane was between stints with Miles Davis and was soon to join up with Thelonious Monk. These recordings give listeners a good feel for Coltrane's style during the early years of his short career, which ended prematurely with his death at age 40 in 1967, but nevertheless encompassed a number of different sounds that included everything from bebop to avant-garde.

The members of the Red Garland trio, which included Garland on piano, Arthur Taylor on drums and bassist Paul Chambers, get plenty of time on this album, even if Trane was the nominal star. In fact, the first cut, "Traneing In", starts with Garland playing for almost four minutes before Trane even makes an appearance. Of course, when a song is over 12 minutes long, there's plenty of time for everyone.

The second cut, "Slow Dance", is just that - slow - although that's not necessarily a bad thing, and after a lethargic start it picks up a little with some soft, moody work by Trane. That's followed by "Bass Blues", showcasing bassist Chambers in ways you seldom hear in a jazz work — both pizzicato and bowing.

My favorite on the album would have to be the ballad, "You Leave Me Breathless", which includes some sweet upper register playing by Trane, a beautiful and unusual sound for him. The album closes with "Soft Lights And Sweet Music", which sounds like it would be more of the same but is actually harder-edged and more of a pure bebop sound, at least to my ear.

A mixed verdict on this album — lots of good music from the early stages of a legendary jazz musician, and important as a snapshot of where he was musically at that time, but possibly not to everyone's tastes.

1. Traneing In 12:35
2. Slow Dance 5:28
3. Bass Blues 7:46
4. You Leave Me Breathless 7:24
5. Soft Lights and Sweet Music 4:41


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Zen Peach

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  posted on 3/6/2007 at 09:24 AM
McCoy Tyner looks back on Coltrane and a lifetime in jazz

Special to The Japan Times

McCoy Tyner ranks as one of the most important piano stylists in post-war jazz. His recordings with the John Coltrane Quartet, such as 1964's "A Love Supreme," remain high points of musical improvisation and spirituality. The mid-'60s music created by Coltrane, Tyner, bassist Jimmy Garrison and drummer Elvin Jones expanded music toward greater freedom and integrity. The Quartet's intensity is still unmatched.

As Coltrane moved deeper into his own style of free jazz before his death in 1967, Tyner stepped out on his own. On Tyner's many recordings since 1962, his harmonic clarity and spontaneity has influenced a generation of pianists, though few ever managed to attain his rich textures and rhythmic energy.

In early February, Tyner's trio played sold out shows at Tokyo's Blue Note. Many in the crowd were not yet born when Tyner and Coltrane expanded the limits of jazz, yet they seemed to hang on every note with genuine appreciation.

Before the shows, New York-based Tyner took time to talk about his music and passions. His natural liveliness and warm sense of humor often burst into room-filling laughs as strong, and complex, as his piano playing. Yet, a sense of wistfulness and nostalgia emerged as well, as he talked about his life in jazz.

Do you find that living in New York really feeds into your music?

New York is the kind of place where you can always chill out, but at the same time, it's got all this activity going on as well. Whatever you experience in life, whether it's going to a particular place or participating in some activity, it affects your life. You gain from that experience. Hopefully, it's good! (laughs).

But aren't you traveling quite a lot?

I try to stay home as much as I can without losing too much work! It's not a matter of affording it, but I do like playing music. That's what it is. Travel for me is the opportunity for meeting people and having new experiences. I've been here a lot, but I'm always interested in something new, something different.

Does that mean meeting new musicians?

Yes, a familiarity comes when you get a chance to work with people over time. You get a chance to know how people think and how they feel. There are a lot of people in Japan that I met a long time ago, and I still wonder what they're doing.

With people you know well, do you play differently?

People have their own kind of language. With a friend you have for a long time you can almost expect how he's going to express himself, even if you don't quite know what he will say exactly. You finish what he's thinking and know that's his thing. Those kinds of connections are in the music.

Your style has incredible amounts of energy.

Well, these cappuccinos are really something, you know? (laughs). Where I live, there are coffee shops all over. I can't miss them. . . . That's why I live in New York. It's so convenient. Plenty of cappuccino.

You have the same 10 fingers, I see, but yet get so much energy into your musical language.

I was fortunate to have gotten in with people who play on a high-energy level. John [Coltrane] and the people in my bands played like that. John was really a teacher. I was very fortunate to have met him as a teenager and gotten the opportunity to play in his band. I was hearing all the experience he had every night for years, conversing with him.

So playing with him was another level of energy altogether?

Yes, but you had to be able to handle a situation like that. You had to be willing, first of all (laughs), and also have the potential to rise to the occasion. He wasn't going to hold my hand. We were very close. The musical connection helped solidify that. He was very kind to me and treated me like a brother. It was a great privilege and I learned so much.

You also influenced the many great musicians you played with.

Fortunately I was graced with their presence and they were able to walk away with some of the music. After playing with John, actually you become a teacher without wanting to be a teacher. For the musicians who never had a chance to play with John, I became a conduit to experience playing with him. It's something about being hands-on.

Do you feel the situation is different now in jazz?

The public is being barraged. It's like breakfast, lunch and dinner, then in-between snacks, I mean, how much can you absorb? And not only that, is it good for you? The time I grew up, we did have a steady diet of really good stuff. Now, they just throw this out and that out and see what sticks. I'm not saying it's that way all across the board. There are always people that really want to see quality things.

So, you quickly get a sense when people are looking beyond the music?

Some people are receptive to things. I don't think you can force a meal down someone's throat that's not hungry. With music and information, they have to be prepared to hear what you have to say. And hopefully, they enjoy the meal!

One of the highlights of your recording career is your Latin album "McCoy Tyner and the Latin Jazz All-Stars" (1999). Did you always play Latin?

I used to play conga drums a long time ago, but I stopped because I was studying piano and, well, actually, I got affiliated with a dance school. I was studying dance for a while, but don't tell anybody (laughs).

But music was there, too?

At the school, I was just a kid, all these guys from Africa and from Europe came to teach classes. It was interesting not only for what they taught but for the recorded music they had. There were guys who came through the school who would choreograph to Latin music and European ballet. So I got a chance to hear all this music. It was all one essence then. That's the real culture in America. It's an amazing sweep of expression really.


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Extreme Peach

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  posted on 3/6/2007 at 10:40 AM
Thanks for these articles! Keep'em comin.


Zen Peach

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  posted on 3/6/2007 at 11:13 AM

Lost Ornette Coleman Album Gets U.S. Release
Date: February 27, 2007
Written By: Zachary Herrmann

--------------------------------------------------------------------------- -----
As he approaches his 77th birthday, iconoclastic saxophonist Ornette Coleman is experiencing a resurgence. He was recently honored with a Grammy Lifetime Achievement award as well as a “Best Jazz Instrumental” nomination for his latest album, Sound Grammar. Coleman also presented the Best New Artist award to Carried Underwood. What could be more natural?
But while Coleman forges onward, the Walter label has delved into his back-catalogue to release the heretofore hopelessly obscure To Whom Who Keeps a Record. The only prior release of the album was a Japanese pressing in 1975.

The album material comes from three sessions: one from Hollywood circa Oct. 1959, and the following two from July 1960. The first track, “Music Always,” from the 1959 recordings, features Coleman’s original Change of the Century quartet line-up with Don Cherry on trumpet, Charlie Haden on bass and Billy Higgins on drums.

Following the recording session, the band went to New York to play a scorching run at Manhattan’s Bowery, continuing to tour through the spring of 1960. When the quartet returned to the studio on July 19, this time with Ed Blackwell replacing Higgins on drums, Coleman and company recorded three tracks that appear on the new release. A week later, they recorded another session from which the last three tracks (that’s seven total) are pulled. Shortly after the last session, Haden had to be hospitalized. Though he would return to play with Coleman in 1966, the quartet never again existed as it had for the sessions yielding To Whom Who Keeps a Record.

Coleman only named the tracks right before their initial release in 1975. When read together, they complete the phrase “Music Always Brings Goodness To Us All, P.S. Unless One Has (Blues Connotation No.2) Some Other Motivation For Its Use.”



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Zen Peach

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  posted on 3/13/2007 at 08:48 AM
Wynton Marsalis on Second Cup Cafe (CBS Sat Morning)

2nd cup cafe

(CBS) Wynton Marsalis is one of the world's best known trumpeters. He is one of the rare musicians to master both classical and jazz music with equal ease.

He visits the Second Cup Café today to play music from his new album, "From the Plantation to the Penitentiary."

In 1997, Marsalis became the first jazz musician to win the Pulitzer Prize in music, for "Blood on the Fields," an epic oratorio on the subject of slavery. His TV series "Marsalis on Music" won a Peabody award, and he's also earned nine Grammy awards.

Marsalis was born in 1961 in New Orleans into a musical family. He received his first trumpet at age six as a Christmas present from legendary trumpeter Al Hirt. Marsalis' father Ellis was a pianist in Hirt's band.

At age twelve, Marsalis joined a funk band and began performing on the weekends. He went on to perform in local marching bands, jazz bands, and classical orchestras.

After graduting high school, he moved to New York to attend the prestigious Julliard School of Music.

The following year, Marsalis joined Art Blakey's Jazz Messengers and signed to Columbia Records. In 1982 he released his self-titled debut album.

Over the last 25 years, Marsalis has sold more than seven million copies of his recordings worldwide.

Marsalis is also the co-founder and musical director of the Jazz at Lincoln Center program. In addition to hosting numerous concerts and events, the program offers the educational Jazz for Young People series. Marsalis also teaches master classes in local schools.

In 1994, Marsalis released "Sweet Swing Blues on the Road," a book about his touring life.

Marsalis has earned honorary doctorate degrees from numerous universities including Yale, Columbia and Princeton.

"From the Plantation to the Penitentiary" is a politically-charged quintet album of all new compositions by Marsalis. It features a rare spoken word vocal performance by Marsalis titled "Where Y'All At."

"There is a lot of talk about what should be done to fix America, and a lot of ideas, but really, what are any of us actually doing?" Marsalis writes in the liner notes for the album. "I'm talking about us. Me included. We're just sitting by waiting for somebody else to clean our house. They're not coming. Where are we at? "


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