Wynton Marsalis — new King of Trumpet

Press, 24 October 1984, Page 15

Wynton Marsalis — new King of Trumpet

Jazz review by

ALLAN FRANCIS

WYNTON MARSALIS. Think of One. Wynton Marsalis, trumpet, with players play eight tracks of standards and originals. CBS SBP 237926. 1 It is inevitable that a king should eventually step aside to allow a younger and more vigorous ruler to take over the reins. This particular kingdom sees the accession of Wynton Marsalis to the hallowed crown of King of Trumpet and the reluctant stepping down of the uncrowned Miles Davis. If one can think back to the latter’s claim to the title, it was one of great controversy, surrounded by many who had more convincing credentials and somewhat undermined by

Davis’s own weaknesses and, more than a few moments of frailty. On the other hand, Wynton Marsalis has taken the title by storm, and just for good measure asserted his technical supremacy by taking the 1982 award for. best classical trumpeter of the year. At 22, Marsalis has not only usurped Davis’ crown, he has taken over most of the old king’s sidemen — or at least the best of them, Ron Carter, Herbie Hancock and so on — but he has gone further still by introducing a unique thrust of his own family members in this album. Many may feel safer by starting with the familiar, “My Ideal,” just to get the idea of the young trumpeter’s thinking before embarking on the outer fringes of his inspiration. . Here it is apparent that Marsalis relies more on the older close-knit harmony, and some of the humour, that marks the outpourings of Clark. Terry or Cat Anderson. Marsalis has the harmony'that fits the Thelonius Monk style,of thought but he still makes his own mark with the originals,

“Beil Ringer,” “Later,” or “Knozz-Moe King.” Where Davis sometimes pursues a course that is optimistically labelled as cohesive inspiration, Marsalis sticks confidently to the tight harmony patterns of his classical background. Listed as an “enfant terrible” of both worlds, Jie makes a claim here that is undeniable. MILES DAVIS. Decoy. Miles Davis, trumpet, plays seven tracks with varying musicians. CBS SBP 238010. At 58, Miles Davis refused to admit to the advancing years, but the chinks in his armour as a pure jazzman are beginning to appear; his reliance on effect rather than genuine inspiration is now well-known among his followers. His adherence, to the idiom wins him many friends in the popular field but loses just as many in the died-in-the-wool jazz addicts team. This 1984 album is no exception. The usual electronic gear is very much to the fore and — wonder of wonders — he has enlisted the services of Wynton Mar-, salis’s brother; Branford, on soprano sax.

To give him full credit, Davis is just as proficient as ever on the horn of his choice but his material leaves a lot to be desired. In an ever constant urge to keep up with the field, he has to rely on the less profound rock ideas and muddly latinesque rhythms to make his.case.

Only the title track and “Code MD” are the work of his sideman, Robert Irving. The rest of the album comprises Davis originals. The influence of ' electric drummer, Irving, is patently clear on the Davis musical thoughts of 1984.

If the only alternative is a return to “Kind of Blue” or “Miles Davis 1 and 2,” one could mildly suggest that he could do a lot worse. !