Wynton Marsalis Reeltime
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- by Wynton Marsalis ~ Selections from Swinging into the 21st: 50th Birthday Celebration ~ $8.29
- by Wynton Marsalis ~ Standard Time, Volume 2: Intimacy Calling ~ $5.97 (Save 25%)
- Released: November 2, 1999
- Originally Released: 1999
- Label: Sony
JazzTimes - 5/00, pp.149-50"...Consists of leftover tracks from [John Singleton's movie] 'Rosewood' score....the album has the rambling, divergent feel of a sampler, a loose, piecemeal essay on rural Americana in musical form....this is an inviting...addition to the Marsalis oeuvre."
- 2.Mr. Mann
- 3.Sylvester's Rag
- 4.Gentler Times
- 5.Gossipin' Hens
- 6.Sunday Blessing
- 7.I Hear A Knockin' - (quartet)
- 8.Go, Possum, Go
- 9.Eyes Around The Corner
- 10.Sing On
- 11.Morning Song
- 12.I Hear A Knockin' - (solo)
- 13.If I Hold On
- 14.Elgin Mills
- 15.Rattlesnake Tail Swing
- 16.Dark Heart Beat
- 17.Fire In The Night
- 18.Porch Whiskey
- 19.To Higher Ground
- 20.After The Dead
Song previews provided courtesy of iTunes
REELTIME was originally intended to be the soundtrack to John Singleton's 1997 film ROSEWOOD.
Personnel includes: Wynton Marsalis (conductor, trumpet); Cassandra Wilson, Shirley Caesar, Valerie Williams (vocals); Wessell Anderson, Sherman Irby, (alto saxophone, clarinet); Victor Goines (tenor saxophone, clarinet, bass clarinet); Gideon Feldstein (baritone saxophone, bass clarinet); Marcus Printup, Russell Gunn, Jamil Sharif (trumpet); Wycliffe Gordon (trombone, tuba); Reginald Veal (trombone, bass); Ron Westray, Bill Reichenbach (trombone); Mark O'Connor (violin, mandolin); Stefon Harris (vibraphone, marimba, bass marimba, snare drum, percussion); Marcus Roberts, Eric Reed (piano); Russell Malone (guitar); Mark Schatz (banjo, bass); Herlin Riley (drums, tambourine); Kimati Dinizulu (percussion, washboard).
Recorded in September 1996. Includes liner notes by Stanley Crouch.
This is part of Sony's Swinging Into The 21st series.
Personnel: Wynton Marsalis (trumpet); Kay Bowen, Valerie Williams, Bobette Jamison-Harrison, Ronee Martin, Shirley Caesar, Cassandra Wilson (vocals); Russell Malone (guitar); Victor Goines (clarinet, bass clarinet, tenor saxophone); Wessell Anderson (clarinet, reeds, alto saxophone); Andy Farber, Sherman Irby (clarinet, alto saxophone); Gideon Feldstein (bass clarinet, baritone saxophone); Stephen Riley (tenor saxophone); Jamil Sharif, Marcus Printup, Oscar Brashear, Russell Gunn , Bob Findley, Roger Ingram (trumpet); Ron Westray, Wycliffe Gordon, Vincent Gardner, William Frank "Bill" Reichenbach Jr. (trombone); Eric Reed (piano); Stefon Harris (vibraphone, marimba, drums, percussion); Herlin Riley (drums, tambourine); Kimati Dinizulu (washboard, percussion).
Liner Note Author: Stanley Crouch.
Recording information: Egyptian Room Studio, New Orleans, LA (1999); Warner Brothers Soundstage (1999).
Sometimes even the powerful Wynton Marsalis has to take no for an answer, as his score for the film Rosewood was commissioned and completed but ultimately not used. In this case, it's clearly the filmmakers' loss, for Marsalis has written a soulful, stylistically wide-ranging set of cues that he put out anyway as part of his massive 1999 release schedule. The theme song for Rosewood is a cool, studied, country blues-flavored tune with Cassandra Wilson exploiting the husky tones of her bottom range. Along the way, Marsalis throws in some solo piano music; some bluegrass -- a dignified folk ballad and reel for fiddler Mark O'Connor; some fine swing violin from the then-88-year-old marvel Claude Williams; music for gospel choir and Shirley Caesar; and handkerchief-waving New Orleans street music (the traditional "Sing On"). There are brief atmospheric cues for big band: the moody "Eyes Around the Corner" is an obvious homage to Miles Davis and Gil Evans; "Morning Song" -- with Karen Briggs on violin -- could almost be an Ellington outtake with Ray Nance. Marsalis' house players from Lincoln Center also receive sporadic room to ruminate, as does Marsalis' own eloquent horn ("After the Dead," a lonely solo surrounded by a halo of reverb, is especially moving). It's good to hear Marsalis stretching himself all over the spectrum of music of the American South, and always from the point of view of a staunch, respectful traditionalist. ~ Richard S. Ginell
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