Free Wynton Marsalis: A Universal Musician Of All Times Term Paper Example

Wynton Marsalis is a truly unique figure in the world of jazz music. He is internationally acclaimed as not only a musician, but also as a composer, bandleader, and educator. He is arguably the first musician in the world to compose and perform music over the complete jazz spectrum including compositions that characterize the roots of jazz in the New Orleans tradition, bebop, modern jazz He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz
Similarly, the characteristic skill and sound specific to Marsalis encompasses the music of the great jazz musicians such as Miles Davis and Louis Armstrong while retaining his own distinctive voice. His complex perception of rhythm is evident in his music when he changes time and beat though does though in a seamless manner never leaving the listener to feel a jarring inconsistency. His control of the music even within a music genre that often sounds improvised comes from classical training, and this discipline is evident even when he is, in fact, improvising.
Marsalis’s music also reflects his dedication to acting as an advocate for music education and the recognition of talented jazz artists who may not be in the spotlight. Upon receiving his first music contract in 1981, Marsalis made the decision to highlight the accomplishments of older jazz musicians who he felt were skillful and yet under-recognized. He received a great deal of criticism for this style despite being held up as a leader in the advancement of jazz music by other young artists who followed his lead.
Critics and fans alike, rebuked Marsalis for creating music that did not reflect his own experiences but instead reflected what they heard on popular jazz recordings and in the conservatory. Marsalis defended himself by stating that classical music gave him the discipline to play jazz well. He also stated that younger artists were finding popularity when their elders hadn’t so they should feel a sense of responsibility to showcase the latter’s talent. He especially focused on those artists who were credited with creating music in different jazz styles. While his style grew more and more distinct, he has continued to pay homage to those he considered to be the leaders in jazz music.
When listening to Black Codes, written by Marsalis and performed by his quartet in the 1980’s (the version I listened to was performed in 2013), at first I was overcome with what I perceived to be discordant sounds. I think this is because the style of the music, neo-bop, is highlighted by an improvisational style with fast, complex rhythms, meant to advance jazz music to a different level of sound compared to the original form of the genre. You can hear the foundational bop jazz characteristics in the piece, such as quick tempo, and a form of improvisation that is not based on the overall melody of the piece but instead on harmonics. At the same time the interaction between the melodies, harmonic structure and rhythm lend a framework so that the improvisational style does not sound out of control but somehow contained. The piece is introduced with the piano and the trumpet joins in after an opening sequence. The rhythms and melodies are fast and complex, providing a sense of tension throughout the piece. Though the piano continues to be highlighted it is the trumpet played by Marsalis that takes center stage and while the other instruments often play at similar volume, the skillful runs, differences in pitch and tone and variation from middle to high register then to low register, highlights Marsalis’s amazing range. The piece starts out with a more regular rhythm and discernable melody, but then these elements become more difficult to discern. This is due to the increasing improvisational sound characterized by Marsalis altering time signatures and duration of notes from those held longer to series of staccato notes in repeated runs. While the dynamic tension between the instruments, in particularly the piano and trumpet, builds, at times almost seeming to compete, the piece is also characterized by a complimentary sound between the four instruments. . Each instrument is highlighted at some point though it is Marsalis and the trumpet that is emphasized. Although critics have argued Marsalis relies too heavily on the sounds of Louis Armstrong in this piece, it is difficult to catch the undertones of Armstrong’s sound in the work. Sometimes, when listening carefully, I could catch a longer note that reminded me of Armstrong’s style but I’m not sure I would have noticed if not listening for it. I think the critics were overly harsh as if the piece harkens to Armstrong in terms of unconscious feeling, perhaps that is what Marsalis intended since the sound of the piece seems entirely unique and other than music critics I’m not sure anyone would liken the sounds, rhythms, harmonics or melodies within the piece to any other musician including Louis Armstrong. The piece Black Codes characterized by sudden changes in register, rhythm, duration of notes and note series that are repeated with different notes accented or notes accented with differing dynamics, provides the flexibility to showcase not only Marsalis’s talent but the talent of each member of his Quartet.