Personnel: Wynton Marsalis (conductor, trumpet); Robert Sadin (conductor); Wessel Anderson (sopranino & alto saxophones); Victor Goines (soprano, tenor & baritone saxophones, clarinet, bass clarinet); Todd Williams (soprano & tenor saxophones, clarinet); Ted Nash (soprano & tenor saxophones); Branford Marsalis (soprano saxophone); Gideon Feldstein (baritone saxophone, bass clarinet); Harry "Sweets" Edison, Marcus Printup, Ryan Kisor (trumpet); Wycliffe Gordon, Ronald Westray (trombone); Kent Jordan (piccolo, flute); Eric Reed (piano); Reginald Veal (acoustic bass); Ben Wolfe (bass); Herlin Riley (drums, percussion);
Recorded at RCA Studio A, New York, New York on January 23, 1993 and Paramount Stage M, Los Angeles, California on August 17 & 18, 1995. Includes liner notes by Tony Scherman.
Personnel: Wynton Marsalis (trumpet); Kent Jordan (flute, piccolo); Victor Goines (clarinet, bass clarinet, soprano saxophone, tenor saxophone, baritone saxophone); Todd Williams (clarinet, soprano saxophone, tenor saxophone); Wessell Anderson (sopranino saxophone, alto saxophone); Ted Nash (soprano saxophone, tenor saxophone); Branford Marsalis (soprano saxophone); Harry "Sweets" Edison , Marcus Printup (trumpet); Ron Westray, Wycliffe Gordon (trombone); Eric Reed (piano); Reginald Veal (upright bass); Herlin Riley (drums, percussion).
Audio Mixers: Brian Dixon; Patrick Smith .
Recording information: New York, NY (01/23/1993-08/18/1995); Paramount Stage M, L.A., CA (01/23/1993-08/18/1995).
Translators: Eva Reisinger; Genevieve Haines.
After several years of juggling dual careers as a symphonic trumpeter and a jazz bandleader, Wynton Marsalis began to combine the two in the '90s. Obviously influenced by '50s and '60s third stream music (a combination of classical and jazz exemplified by the work of composers such as Ran Blake) as well as the brilliant orchestral suites composed by the great Duke Ellington, "Jazz" and "Jump Start" are scores for two dance pieces choreographed by Peter Martins and Twyla Tharp. The suite-like "Jazz" recalls both 19th century program music and earlier jazz suites like Ellington's "Black, Brown and Beige." The ten disparate pieces of the more lighthearted and improvisational "Jump Start" are each based on a different rhythm, from the Japanese folk music of "Gagaku" to the Jelly Roll Morton-like "Slow Drag." Combined, the two scores demonstrate the remarkable advancement of Marsalis' compositional strengths.