“This is simply an outstanding, kick-ass jazz album by any standard, a collection of brilliant arrangements and musicianship by a modern jazz quartet that not only hangs together, but seeks new adventures in a free-form, yet cohesive manner.” – The Toledo Blade
“There’s a certain joyfulness that permeates The 21st Century Trad Band, the title of which doesn’t refer to playing New Orleans traditional jazz in a modern way but reflecting its continuum.” –Louisiana Weekly
“Marsalis incubates a welcoming rush of warmth in his music, regardless of whether it’s a bop, a blues, or some modern construct that doesn’t sound beholden to any one influence.” –Wondering Sound
“The title indicates Mr. Marsalis’s cheeky self-awareness as a New Orleans jazz scion, but it also reflects the genuine in-betweenness of this music, as much on a buoyant funk tune like “Ratio Man” as a clackety saunter like “The Man With Two Left Feet.” There’s a spine of traditionalism here, to be sure, but Mr. Marsalis, leading with flair, keeps its gaze pointed forward.” –The New York Times
Following 2013’s In A World of Mallets (hitting #1 on JazzWeek radio charts), the youngest of New Orleans’ Marsalis Jazz dynasty, Jason Marsalis, is back with his second Vibes Quartet release, The 21st Century Trad Band.
Backed once again by Will Goble on bass, Austin Johnson on piano, and David Potter on drums, The 21st Century Trad Band puts a spotlight on the growing synergy between these young and talented musicians.
With songs like “Offbeat Personality” Marsalis takes us on a journey through a complex arrangement combining hard-swinging sections with more melodic interludes, unexpected turn-arounds, and an introspective outro. While songs like “The Man With Two Left Feet” and the titular track play with the trad jazz idiom in a contemporary modality. What’s clear throughout the album is the developed control the band has cultivated through further years of playing together; the unspoken communication is evident.
As with previous albums, Marsalis continues his “Discipline” series accompanying himself on a variety of mallet-based instruments including Marimba, Glockenspiel, Tubular Bells, Vibraphone, and Xylophone, further establishing his voice as a mallet-player with the off-kilter blues of “Discipline Meets the Offbeat One” and several interludes with unusual rhythmic patterns and meters.
In addition to including original compositions from his band mates, Marsalis has taken a step further in encouraging the vanguard of the next generation of jazz by including compositions of the young New Orleans musicians Cliff Hines (“Interzone”) and Jasen Weaver (“Blues for Now”), both graduates of the New Orleans Center for Creative Arts.
The shear amount of music, seamless interludes, and a track reflecting on the BP Oil Spill,“BP Shakedown” are testaments to Marsalis’ serious nature towards his work. But just as he touched on playful, uncharted territory with In A World of Mallets’ “Ballet Class” he explores a film noire theme with “Nights in Brooklyn”.
Banjoist Bela Fleck has praised Marsalis for “brilliant ideas that sound as if he’s played them his whole life, but are really coming off the top of his head.” The NEA Jazzmaster stated himself that his last record was “the beginning of a new chapter.” It’s clear The 21st Century Trad Band is a continuation of that chapter, and it’s full of those “brilliant ideas” for which the bandleader has become known.
Produced By Jason Marsalis
Executive Producer: Mark Samuels
Engineer: Ben Lorio
Vibes Quartet Was Recorded at The Music Shed June 30-July 1, 2014
Discipline Ensemble was recorded by Ian Painter of Greenhouse Collective at Studio 103, University of New Orleans on July 7, 2014
Editing and mixing: Music Shed in New Orleans, LA
Mastering: Mark Wilder at Battery Mastering in New York, NY
Jason Marsalis endorses Vic Firth mallets. Dave Potter endorses Mapex drums, Vic Firth sticks, and Sabian cymbals.
Artwork: Susan G, Young
Graphic Design: Diana Thornton of Crescent Music Services
Thanks to my wife Kaya. Without her, none of this would be possible. My daughters Marley, McKenzie, and Evangeline for giving me strength. My parents Ellis and Dolores Marsalis and brothers, Branford, Wynton, Ellis III, Delfeayo, and Mboya.
THANKS: Ruby Rendrag at the Music Shed for helping organize the quartet sessions. Brian Seeger and Missy Bowen at UNO for helping me coordinate the Discipline sessions. Jasen Weaver and Cliff Hines for writing melodic creative music and representing the modern New Orleans music scene. Finally, Justin Timberlake, Laura Mvula (my wife introduced me to her music) and Rep. Joe Barton (R-TX) for their inspiration to this record