Meanderings

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I find myself, at various times of my life, where i start to dwell on a CD or two for weeks, or sometimes, months on end. I listen to other things, of course, but as a matter of habit during these periods, when given silence, more times than not, i'll reach for these sounds i've been dwelling on and submerse myself in them.

Mr. Marsalis has two CD's that i do this with. The first is one i've already covered, Black Codes [From the Underground] and this one, Levee Low Moan : Soul Gestures in Southern Blue, Vol. 3.

Though i respect and listen to other of Mr. Marsalis' work, it is my humble opinion that these two are the pinnacle of what modern jazz is capable of attaining and are the quintessential works of Wynton as well.

Levee Low Moan starts off on the down and as it progresses, there's this humble level of ascension within the title track, but as with each of these pieces, no one piece is wholly capable of standing on their own. Better yet, each piece can be considered on it's own, but none of these pieces are as strong apart as when they're each considered together.

As with Black Codes [FtU], each musician takes their turn and let me tell you, from Wynton Marsailis on down, everyone shines. Solo's flow from one to the next without fanfare. Everyone knows the pace, from downbeat to swing... everyone picks up where the others left off and though i'm biased towards this CD, it is an amazing example of teamwork and what a group of people can do with a shared passion.

I'm hesitant to say this CD is about the Blues, per se... clearly it is an investigation into the Blues, but perhaps not in the same sense that you might think of when you consider John Lee Hooker, Muddy Waters, etc... But at the same time, there is a Blues element here. Whether you can hear it or not depends on your ability to consider the sounds that, in my opinion, are a series of solo's, soliloquies and even ballads that exemplify the Blues. That is, there's a sense in these compositions that for whatever we endure, within each of us, we want to triumph. For all those things we burden ourselves with, it's our hearts and minds that yearn for freedom.

Jig's Jig often works it's way into my head. Marcus Roberts' chopping at the ivory is intricate, seemingly slightly off balance in that Thelonious Monk kind of way, but so perfect in it's delivery. The saxophones pick up where he leaves off and continue to bob and weave new textures that are catchy without being sappy... but nothing compared to the horn work which is offered in the next track, So This Is Jazz, huh?

So This is Jazz, huh? is simply my favorite track on this CD. Perhaps it's because i'm somewhat biased towards the saxophones [of which the soprano, alto and tenor are represented on this CD]. Either way, this track is simply quintessential. A somewhat slow ballad that is built up perfectly for the saxophone solo which climaxes, but not in the way you might think of. It's just one of those things you're going to have to experience on your own. As with so much of his other work, the solo's from Mr. Marsalis and his associates are capable of saying all that needs to be said without having to shout it. If the title of this track is to be considered, perhaps it can be answered with "No, This is Poetry."

Somewhat shorter than what you might desire, the pacing and placement of all 5 of these compositions is as perfect as can be. I might even go so far to say that from beginning to end, Soul Gestures in Southern Blue Vol. 3 is the dialog of a days events, from sunup to sundown. But perhaps i'm projecting 'cause regardless of where i live, i am a Southerner at heart.

The closing track, Superb Starling, is a melancholy ending which leaves the listener wanting more, but understanding that like the last rays of an orange sun, the sky changing from a myriad of oranges and blues to a pall of purple, then black, that all things must come to an end. But like the relief that a simple breeze can bring to someone in it's path, Superb Starling ends this CD with that same grace.

If you enjoy jazz, whether it be west coast swing or east coast bop, you owe it to yourself to get this CD. It's beauty is in it's simplicity and it's passion is contagious. It's also a fairly good introductory CD to those looking to appreciate what improv jazz is all about. All the solo's offered here are stellar but none of them go so far into a tangent that they become irrelevant to the other musicians or the overall sound of the composition.

Check it out. You'll be glad you did.

28 March 2001