The Encyclopedia of Popular Music

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ENCYCLOPEDIA
POPULAR
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3rd EDITION
Marsalis, Delfeayo
b. c.1963, New Orleans, Louisiana, USA. The third of
four musician sons of pianist Ellis Marsalis, he began
studying trombone when he was 12 years old, then
went to Berklee College Of Music. His professional
career as a performer was delayed because he took up
record production, working on albums by his father,
his brothers Wynton and Branford Marsalis and
Courtney Pine. An eclectic taste incorporates classical
music and many areas of jazz. While he has expressed
admiration for trombonists Tommy Dorsey and Jack
Teagarden, his instrumental idol is JJ. Johnson.
Marsalis's playing experience has all been at a very high
level, including spells with bands led by Ray Charles,
Fats Domino, Abdullah Ibrahim and Art Blakey. As he
explained to Derek Ansell in an interview for Jazz
Journal International, he is eager to develop his own
playing style and to expand his own career which has
hitherto been overshadowed by his more famous brothers.
• ALBUMS: Pontius Pilate's Decision (RCA Novus
1992).***
Marsalis, Ellis
b. 14 November, 1934, New Orleans, Louisiana, USA.
Although he has never really been a revolutionary
band-leader or pianist, Ellis Marsalis' influence on the
American mainstream jazz scene cannot be over-estimated. As an inspirational figure to a new generation of
artists, and an educator and spokesman, this New
Orleans-born pianist is unrivalled. Marsalis' professional music career began on tenor saxophone while
still in high school, but he changed to piano a few years
later, performing with such New Orleans-based
modern jazz luminaries as clarinettist Alvin Batiste and
drummer Ed Blackwell. He spent a brief spell on the
west coast (he accompanied Blackwell out there, who
was going out to meet up with Ornette Coleman),
before signing up for military service with the marines
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accompanying singers on CBS television, on the
Marine-sponsored Dress Blues show. Back in New
Orleans during the early 60s, Marsalis' reputation as a
sensitive and versatile accompanist led to a job fronting
the house trio at the Playboy Club, where he accompanied stars vocalists such as Ernestine An^^rm anrl
Jimmy Rushing. He joined trumpeter Al
boating trad band during the late 60s, a
with the group on many popular Americ
destined for great things. It was then that he joined Art
shows, before leaving to join Bob Frencl
Blakey's Jazz Messengers, perhaps the best of all finishJazz Band in 1970, continuing the all-roun
ing schools for post-bop jazzmen. During the next two
tion and understanding that has made
years he matured considerably as a player, touring and
unique figure on the current scene. He we
recording with Blakey and also with other leading
his own highly successful modern jazz bam
jazzmen, including Herbie Hancock and Ron Carter.
mer James Black, enjoying a residency at
He also made records under his own name and,
Orleans' premier jazz clubs for a year and
encouraged by his success, decided to form his own
mid-70s, Marsalis began to turn his atte:
permanent group. In this he was joined by his brother
furthering his involvement in education,
Branford. During 1983, he again worked with Hancock.
teaching since the mid-50s, but now he b.
The
following year he recorded in London with
in earnest on a jazz curriculum, and was
Raymond Leppard and the National Philharmonic
the New Orleans Centre for the &
Orchestra, playing concertos by Hayden, Hummell and
(NOCCA) in 1975. As a teacher, Marsz
Leopold
Mozart - a side-step which led to his becoming
have included many of the new genera
the unprecedented recipient of Grammy Awards for
Orleans-based modern jazz stars, includin
both jazz and classical albums. He next toured Japan
Victor Goines, bassist Reginald Veal,
and Europe, appearing at many festivals, on television
Jordan, trumpeter Terence Blanchard, p
and making many recording sessions. By 1991, and still
Harry Connick Jnr. and, of course, his s:
only just turned 30, he had become one of the bestWynton Marsalis (trumpet), Branford M
known figures on the international musical stage.
phones), Delfeayo Marsalis (trombon
Insofar as his classical work is concerned, Marsalis has
Marsalis (drums), who have affected the
been spoken of in most glowing terms. In his jazz work
permanently, with their emphasis on craft
his
sublime technical ability places him on a plateau he
learning. Ellis Marsalis is head of jazz ;
shares with very few others. Nevertheless, despite such
University of New Orleans and a panellist,
extraordinary virtuosity, the emotional content of
tor and board member for the National Ei
Marsalis's work often hints only lightly at the possibilithe Arts and the Southern Arts Federation
ties inherent in jazz. Sometimes, the undeniable skill
• ALBUMS: Piano In E (Rounder 1984)**i
and craftsmanship are displayed at the expense of vitalTrio (Blue Note 1990)****, Heart Of G
ity. If compared to, say, Jon Faddis, eight years his
1991)***, The Classic Marsalis (Boplicity
senior, or Clifford Brown, who died at the age of only
with Wynton Marsalis Joe Cool's Blues (Colum
26, then there is clearly some distance to go in his
A Night At Snug Harbor, New Orleans (Evidet
s a player of emotional profundity.
with Branford Marsalis Loved Ones (Columbia
ALBUMS: with Art Blakey Recorded Live At Bubba's
Blakey Straight Ahead (1981)***,
Marsalis, Wynton
Wynton Marsalis (Columbia 1981)****, Think Of One
Ouubu
Orleans, Lo
(Columbia 1982)****, with Branford and Ellis Marsalis
Marsalis took up the trumpet at the age
Fathers And Sons (Columbia 1982)***, The Herbie Hancock
aged by Tiis father, Ellis Marsalis, a piai
Quintet (1982)***, with Blakey Keystone 3 (1982)***,
and teacher. His brothers, Delfeayo ;
Hot House Flowers (Columbia 1984)****, Black Codes
Marsalis are also musicians. Before enter
(From The Underground) (Columbia 1985)****, / Mood
years he was already studying formally, 1
(Columbia 1986)****, Live At Blues Alley (Columbia
taneously developed an interest in jazz. T
1987)****, Marsalis Standard Time (Columbia
playing included performing with a
1987)****, The Majesty Of The Blues (Columbia
marching band led by Danny Barkei
1988)***, Crescent City Christmas Card (1989)***,
trumpet concertos with the New Orleans
Marsalis Standard Time Volume 2 (Columbia 1991)***,
Orchestra. Marsalis later extended his st
Marsalis Standard Time Volume 3 (Columbia 1991)***,
the USA's most prestigious musical educ;
Thick In The South (Columbia 1991)***, Uptown Ruler
ments, Berkshire Music Center at Tangl
(Columbia 1991)***, Levee Low Moan (Columbia
Juilliard School of Music in New York C
1991)***, Tune In Tomorrow (Columbia 1991)***, Blue
Interlude (Columbia 1992)***, Gift Movement 2-CD set
(Columbia 1993)***, Resolution To Swing (Columbia
1993)***, In This House, On This Morning (Columbia
1994)***, with the Lincoln Center Jazz Orchestra Blood On
The Fields (Columbia 1997)***, The Midnight Blues
#etaed3gmt+Xolume 5 (Columbia 1998)***.
VIDEOS: Tha London Concert (Sony Classical 1994),
wn/n Dn .Vterzc (Sony 1995).
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