(JazzPlanet) Wynton Marsalis - Black Codes (Eac S Flac Cue) (UF)

Wynton Marsalis - Black Codes (from the underground)













Artist Wynton Marsalis

Album Black Codes (From the Underground)

Rating AMG Pick 5 Stars

Recording Date Jan 11, 1985,Jan 14, 1985

Label Sony/Columbia

Genre Jazz

Styles Post-Bop Neo-Bop



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Source: Original CD

Size Torrent: 271 Mb

Cover Incluse







Tracks

1. Black Codes

2. For Wee Folks

3. Delfeayo's Dilemma

4. Phryzzinian Man

5. Aural Oasis

6. Dhambers Of Tain



Time 50:41





Personnel includes:

- Wynton Marsalis (trumpet);

- Branford Marsalis (tenor saxophone);

- Kenny Kirkland (piano);

- Ron Carter,

- Charnett Moffett (bass);

- Jeff "Tain" Watts (drums).









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Wynton Marsalis is so heavily documented and so heavily opinionated these days that it's difficult to assess his work fairly. For everyone who thinks he single-handedly saved acoustic jazz in the 80s, another will say he is killing its creativity and radical spirit in the 2000s. Certainly I've wavered on this issue over time. Whatever your opinion on Wynton, Black Codes is the strongest of his early albums, before he took to preserving the jazz tradition. More than any of the other albums Black Codes strives to advance it.



The band on here is great. This was before Branford left to join Sting and the heads to the tunes are tight. Jeff Watts is a phenomenal drummer and Wynton shares the spotlight by using "Chambers of Tain" as a drum feature. Kenny Kirkland drives many of the vamps on this album and comps assertively and the bass player strongly anchors these tunes as well.



This album plays well start to finish and has some of Wynton's strongest writing. "Black Codes" with its low end piano as part of the head, "For Wee Folks" with its out of tempo opening and "Delfeayo's Dilemma", a tune that has been covered by artists like Kenny Garrett, are highlights in the set. Wynton nods to the tradiiton by concluding with a blues as well.



The innovations on this album are subtle. It's more a summary of two splendid jazz ensembles: the tight ensembles of the Jazz Messengers that Branford and Wynton played with early in their careers and the thorny modal improvisations of the Miles Davis Quintet. Some people focus only on Miles when assessing this album, but if you listen to Jazz Messengers albums like Mosaic and Free For All you hear how the discipline of this music and the vigor of Tain's playing are more assertive than the cool effortlessness of Miles' group.



I don't listen to all of Wynton's stuff so much now but I've enjoyed this album and I strongly recommend it as a high point of jazz in the decade of the '80s.



--5 stars



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Black Codes is pure modern jazz energy at its most urban, refined, freshest, sophisticated and complex; it IS a seminal album because it provides the natural evolution and continuation of a hard bop movement that seemed to be floundering a bit in the late 70's, always seeming to have to fight the mediocre commercialism and superficialness that was plauging not only the music scene, but American culture then, and still today.



Dark, moody, hip, furious, dissonant, deep---very deep, ahhh, there simply aint' enough adjectives. But if words are meaningless, then how about one sustained goose bump of pure reverie and jazz joy when digging this album?



What is especially astounding are the virtuoso performances of an absolutely sick, monstrous rhythm section, and the horn and saxophone blowing which is a reflection of the best of improvisational recording during the last fifty years. I agree with the reviewer: don't walk, run and get it. It belongs next to Miles, Clifford, Coltrane and Bird, but put this one last (or latest) in the line-up."