Video of a masterclass by Branford Marsalis we organized back in 2009. Franz von Chossy (p), Sean Frasciani (b), Joost Patocka (d), Ben van Gelder (as), Caspar van Wijck (ts). For more info on previous masterclasses www.amsterdamwinds.nl
AT LAST Honesty & Truth I have had my name smeared & lost gigs because I raise these issues at rehearsals & meets all I want is to play MUSIC I am not interested in Ego or how many notes you can play, I just want to be inspired by the music to play well & as a drummer thats all i have got. THANK YOU for letting me know I was right to expect more than I got, at 74 it does not matter any more, BUT thank you anyway.
Maybe some of the finest and incisive commentary on what jazz is and what it means to play something that people like. So many (musicians) don't pay attention to what people like to hear and I don't mean the obvious. I learned close to a 1000 songs and tunes from folk music because I liked them and it's true what he says, the melodies come out in your playing! What a musician! So enjoyable to hear him talk too.
One of the truths of jazz education is that licks, exercises, and theory can be taught and tested. Instilling poetic interpretative skills and the ability to make an audience cry in a student are, however, beyond the means of only the most sage-like of instructors. Therefore one finds libraries and schools full of exercise books and, just maybe, somewhere, a few practice rooms where the dedicated few actually fight-lose-win in the development of a personal vision and voice beyond the library licks. Mr. Marsalis is clearly one of those few who lives what he speaks and commands our attention as artist and teacher.
Another way to express one of the valuable concepts as was told to me by Red Callender, "You don't get no fruits without no roots." Thank you for the valuable Masterclass.
I like what he said about the musician versus the equipment, and I have found that to be true. I had a sound that I wanted and whatever setup I used I strove to get that sound. Different setups can make it easier or harder to get the sound that you want, but if you play on anything long enough your body will make the necessary adjustments to get the sound that you have in your head.
Words of wisdom. Thank you. It's time to publish these and other concepts you have learned in a medium of your choice. Now I will forget the time in a radio interview, you said you were disappointed in your then recently released recording of French classical pieces, that I enjoyed thoroughly. Best wishes.
Branford's greatness also lies in his honesty statements where he acknowledges his elders' impact on him and on the evolution of the music, despite his own musical genius;which is the essence of greatness in itself. I hope great young players will say the same about him. Honesty, Bro!
Jazz is not dead when we have men like Branford. Yes of course there are wonderful ladies out there playing great jazz. I am still waiting for another Billie though-sorry I know there was only one Billie.
With my highest respect for MR Marsalis and his family. Is it possible to learn not for purposes of self expression but to emulate his genius ho can I learn to sound like Sidney Bechet. How did he get that sound in the soprano ? Respectfully please
A lot of you will misunderstand, that you still have to learn theory and technique,,, like a Kung Fu person learns the forms and combos, in order to spar in the ring. Then you can add that witch is you.
Love this. Honest musicianship. My only criticism is that I feel a cynicism and melancholy in his playing... whether the songs need to express those feelings throughout, I'm not so sure. The exuberance and humor of Wynton or Morrisson is something I crave from time to time too, otherwise a concert might turn into a kind of 'pity party'. Imagine seeing a concert today of someone singing only 'man done me wrong songs'.
This is exactly kenny g's philosophy of make his songs, he works a lot to transform his music into a conversation were he talks to public a message beyond his instruments. but the bad part of it is where he tries to show the tecniques and fail miserably couse its not needed when he already has a good music happening. and then he starts a 10 to 30 min of scales flurries and making a non sense ritms changes and after all this madness all calms down and returns do a mellow theme that makes everyone be in love... i bet if he cuts the flurry part and make or create some more smart phrases to fullfil the empity spaces where the flurry was, the music would be so much better interesting. that's the same reason that i'm not a big fan of jazz... as the techinic employed to play those pieces, the chord changes following a progression and the smart way they uses scales of the chords with alterations is simply amazing... but if you are like a musician scientist it's perfect. but if you wanna hear a music that really touches your heart. you must hear some oher style. like smooth jazz or something like that... oher example, i bet this one is quite good is the 90's songs.... maaannn they were reallly better comparing to the 2020 songs... that almost sounds like the same. now appear that everyone will hear this making a workout or dancing twerk.
brandford is a great player i think though as a muscian in jazz we have to find our own path musically speaking do your thing and let the people catch up to you thelonius monk was that way i hate copy cats where is your sound your voice its ok when your learning to solo and you idolize a sax player but you must find YOUR sound so that you stand out jazz students forget that they try to hard to sound like coltrain or bird untill you as a saxophonist have no style
