Wynton Marsalis Jazz Professional Ball Team#

Wynton Marsalis is an internationally acclaimed musician, composer and bandleader, an educator and a leading advocate of American culture. He has created and performed an expansive range of music from quartets to big bands, chamber music ensembles to symphony orchestras and tap dance to ballet, expanding the vocabulary for jazz and classical. Wynton Marsalis is a well versed jazz musician having come from a very large musical family.

He is sometimes seen as a controversial figure because of his outspoken views on what jazz should be, what it isnt and how popular culture and modern society have both generally gone to hell in a hand basket.The JLCO brought down the house at the Lied Center with the world premiere of the Rock Chalk Suite in 2018, and we are thrilled to welcome them back to the Lied Center stage!Order the Rock Chalk Suite CD here. The digital album is available to purchase at j azz.org/rockchalk. Is a highly regarded jazz pianist who helped define the New Orleans Jazz style, so there is no question that some of his style influenced Wynton MarsalisвЂ™ technique.The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) comprises 15 of the finest jazz soloists and ensemble players today. Led by Wynton Marsalis, Jazz at Lincoln Center Managing and Artistic Director, this remarkably versatile orchestra performs a vast repertoire ranging from original compositions and Jazz at Lincoln Center-commissioned works to rare historic compositions and masterworks by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman and many others. Marsalis, world-renowned trumpeter and composer, has won nine Grammy Awards and was the first jazz artist to be awarded the prestigious Pulitzer Prize in music. He is also an internationally respected teacher and spokesman for music education.Abstract.

It just means, if you take the sports world. Now, increasing sophistication doesn't mean that you have to read Ulysses when you're in third grade. I find a lot of times when we use a word like better, the question is always what are the proportions of things? What do we really want to see?So let's say if we laid out an idea of what do we want to see, I would think the number one thing that we would like to see is the entire populace engaged with the arts on a level of increasing sophistication. And in any way we look along the system, we can find a way to reform it and make it better. The question is, when they come back, do we just go back to New York as it was, or is there something better that we could be doing?Wynton Marsalis: Well, there's definitely many things we could do better. John Schaefer: New York has shut down, all the things that make New York, New York music, arts museums, they're all down, and we don't know when they're coming back.

We want people to participate in this.John: Well, that sounds like education is a first step.Wynton: Yes, it's actually a second step, because if you think about it, you use wanting to play sports. So I would think that the first thing has to be an agreed upon desire, not lip service. But you're going to have that game explained to you from the time you're until you're an adult, and you still might not know the terms they use, but they're accepting that it is sophisticated. That game is much more trivial than any major play, opera.

It's because you saw people play basketball.You went into baseball. You went into basketball, not because it was great basketball training. If you take the significance and the importance of it, it always starts with the performance of it. I use it all the time.Wynton: I played all the sports when I was growing up, and I loved all of them, baseball, basketball, football, the Southern kind of sports.

Wynton Marsalis Jazz Professional Ball Team

We had the New Orleans Pelicans, which was like a team. New Orleans, we didn't even have a professional ball team. Nobody ever looked at baseball on television, but you knew that there was a professional league.

We were like, 'Damn Skip got plays.'So I think that first, most people don't encounter art. 'Skip went to college, man, Skip went to college,' and Skip wrote diagrams of plays for us. And we would all say, 'Man, Skip went to college.' So that was like a big thing. And we used to always say, 'Man'. Our best coach was the baseball coach. I remember, because I'm from kind of a segregated Southern town, Kenner.

Instead they say, 'Oh, well, we've got a program a female composer, we have to program a Black composer. We don't deserve to be heard because we're not Duke Ellington? Put us, put some diversity in those slots. Now what happens with all those other mediocre pieces. You're going to have three or four. So, a point I always try to make about, you're not going to have 24 masterpieces you can program. It's really artist propaganda.If we could agree on the fact that we want everybody engaged in this, and we're going to be much more diverse in our programming without sacrificing quality.

So, it sounds like what you are talking about is that kind of an organic communal approach in forms of music that right now we're kind of institutionalized.Wynton: Not really, because even though they're hearing their peers, what they're doing is institutionalized, too, a lot of it. Kids grow up and they're hearing their peers, and seeing their peers on SoundCloud or whatever. Well it seems like the hip hop community does that sort of organically already.

It's kind of like you have a house and a 14 year old comes into your home that happens to be your son or daughter, and now their music is louder than anything in your house, and now they're telling you what you're going to do. 'Well, that's what these people want to do.' There's a lack of engagement with all elements of our culture. They can get by with all kinds of stuff for years, because it ties into an imagery that those who actually are in charge of actual large institutions are okay with. A lot of the decadence in trash is in a lot of what that is, that is an institution. Okay, because that's like their big thing.

Man, we lived in Kenner, Louisiana. We put on what was popular and we liked it. Now we're talking more about an institutional curated approach, and that implies something different for me and my friends hanging out in my boy's house when we're 13. All of a sudden, this is in the center of your culture, and you're being told, 'Hey, this is you.' Now, a generation or two later, that is you, even though it's only you in your mind, that's you. Which is a lot of material, not all of it.

We didn't have understanding of art, or fine art, or any of that. We just want to listen to what we know,' didn't turn me off of the subject of saying, 'Let's check this out,' because I was just beginning to like the music, but it made me understand how we need to broaden our understanding of what is. Even me, even though I grew up with him, I didn't really listen to that kind of music, but the experience of them saying, 'Man, turn that stuff off. It was just because my daddy played jazz, and we had never heard of that.

I don't remember where they came from. The most transformative experience we ever had was a group of a guy. Have people go see a flamenco group, have them see the Raw Shakespearean Company, have them see. So if you begin people listening to different types of music, getting them involved in things that have development sections, don't teach a bias, go all over the world and find different styles of music and things that are interesting of which there are many things. We just didn't want to listen to 17 minutes of music.So many times, we start to have all these philosophical arguments about something that is not really philosophical. Nobody was against John Coltrane.

That transformed our concept, and I think also for me, I had the chance to see a masterclass for Yo-Yo Ma when I was 15. If you asked any of the students there, regardless of race, what was the most impactful class you had? They say when he came with his dancers, because we hadn't thought of art as community, even though we're from New Orleans and we have parades and all of that.So kids need to have an involvement with people, with quality things, not things that are designed to be products that you're selling something to them. Even by the time I was a senior. But when we heard this man speak, and talk about traditions, and talk about how dance is connected to music, and explain the rhythm and how they play, we had never heard anything like that.We asked so many questions. So when I was a freshman at school was almost all Black, but at the time I was a senior, it was half and half, and two or three years after I was gone to four years after I left, it was all white with maybe a 10% black student population. We sat and we talked, and that was that brief period of integration in the South between like 1972 and '77 while the South was trying to figure out how to re-segregate itself.

That's what I was dealing with. I'd never been out of New Orleans, took a train, had my bucket of fried chicken, all the kind of cliches of a Black person coming out of the South.