Biography – Wynton Marsalis Official Website with comparisons to Leonard Bernstein’s celebrated Young People’s Concerts of the 50s and 60s. That same month National Public Radio aired the first of Marsalis’ 26-week series entitled Making the Music . These entertaining and insightful radio shows were the first full exposition of jazz music in American broadcast history. Wynton’s radio and television series were awarded the most prestigious distinction in broadcast journalism, the George Foster Peabody Award . The Spirit of New Orleans , Wynton’s poetic tribute to the New Orleans Saints’ first Super Bowl victory (Super Bowl XLIV) received an Emmy Award for Outstanding Short Feature (2011). Marsalis has written six books: Sweet Swing Blues on the Road , Jazz in the Bittersweet Blues of Life , To a Young Musician: Letters from the Road , Jazz ABZ (an A to Z collection of poems celebrating jazz greats), Moving to Higher Ground: How Jazz Can Change Your Life and Squeak, Rumble, Whomp! Whomp! Whomp! a sonic adventure for kids. Awards and Accolades Wynton Marsalis has won nine Grammy Awards® in grand style.

In 1983 he became the only artist ever to win Grammy Awards® for both jazz and classical records; and he repeated the distinction by winning jazz and classical Grammys® again in 1984. Today Wynton is the only artist ever to win Grammy Awards® in five consecutive years (1983-1987). Honorary degrees have been conferred upon Wynton by over 25 of America’s leading academic institutions including Columbia, Harvard, Howard, Princeton and Yale (see Exhibit A). Elsewhere Wynton was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts . He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the “I Have a Dream Foundation.” The New York Urban League awarded Wynton with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award. Time magazine selected Wynton as one of America’s most promising leaders under age 40 in 1995, and in 1996 Time celebrated Marsalis again as one of America’s 25 most influential people.

In November 2005 Wynton Marsalis received The National Medal of Arts, the highest award given to artists by the United States Government. United Nations Secretary-General Kofi Annan proclaimed Wynton Marsalis an international ambassador of goodwill for the Unites States by appointing him a UN Messenger of Peace (2001). In 1997 Wynton Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio Blood On The Fields. During the five preceding decades the Pulitzer Prize jury refused to recognize jazz musicians and their improvisational music, reserving this distinction for classical composers. In the years following Marsalis’ award, the Pulitzer Prize for Music has been awarded posthumously to Duke Ellington, George Gershwin, Thelonious Monk and John Coltrane. In a personal note to Wynton, Zarin Mehta wrote: “I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires.

It speaks to us all … I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you.” Wynton’s creativity has been celebrated throughout the world. He won the Netherlands’ Edison Award and the Grand Prix Du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city’s Gold Medal – its most coveted distinction. Britain’s senior conservatoire, the Royal Academy of Music, granted Mr. Marsalis Honorary Membership, the Academy’s highest decoration for a non-British citizen (1996). The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature and in the fall of 2009 Wynton received France’s highest distinction, the insignia Chevalier of the Legion of Honor , an honor that was first awarded by Napoleon Bonaparte.

French Ambassador, His Excellency Pierre Vimont, captured the evening best with his introduction: “We are gathered here tonight to express the French government’s recognition of one of the most influential figures in American music, an outstanding artist, in one word: a visionary… I want to stress how important your work has been for both the American and the French. I want to put the emphasis on the main values and concerns that we all share: the importance of education and transmission of culture from one generation to the other, and a true commitment to the profoundly democratic idea that lies in jazz music. I strongly believe that, for you, jazz is more than just a musical form. It is tradition, it is part of American history and culture and life. To you, jazz is the sound of democracy. And from this democratic nature of jazz derives openness, generosity, and universality.” Jazz at Lincoln Center In 1987 Wynton Marsalis co-founded a jazz program at Lincoln Center.

In July 1996, due to its significant success, Jazz at Lincoln Center was installed as new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet – a historic moment for jazz as an art form and for Lincoln Center as a cultural institution. In October 2004, with the assistance of a dedicated Board and staff, Marsalis opened Frederick P. Rose Hall, the world’s first institution for jazz. The complex contains three state-of-the-art performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Jazz at Lincoln Center has become a preferred venue for New York jazz fans and a destination for travelers from throughout the world. Wynton presently serves as Managing and Artistic Director for Jazz at Lincoln Center. Under Wynton’s leadership, Jazz at Lincoln Center has developed an international agenda presenting rich and diverse programming that includes concerts, debates, film forums, dances, television and radio broadcasts, and educational activities. Jazz at Lincoln Center is a mecca for learning as well as a hub for performance.

Their comprehensive educational programming includes a Band Director’s Academy, a hugely popular concert series for kids called Jazz for Young People, Jazz in the Schools, a Middle School Jazz Academy, WeBop! (for kids ages 8 months to 5 years), an annual High School Jazz Band Competition & Festival that reaches over 2000 bands in 50 states and Canada. In 2010 the Jazz at Lincoln Center Orchestra established its first residency in Cuba with a rich cultural exchange of performances with Cuban musicians including Chucho Valdes and Omara Portuondo and education programs for kids. Education In 2011 Harvard University President Drew Faust invited Wynton to enrich the cultural life of the University community . Wynton responded by creating a 6 lecture series which he delivered over the ensuing 3 years entitled Hidden In Plain View: Meanings in American Music, with the goal of fostering a stronger appreciation for the arts and a higher level of cultural literacy in academia. From 2015 to 2021 Wynton will serve as an A.D. White Professor at Cornell University. A.D. White Professors are charged with the mandate to enliven the intellectual and cultural lives of university students.

Giving Back Wynton Marsalis has devoted his life to uplifting populations worldwide with the egalitarian spirit of jazz. And while his body of work is enough to fill two lifetimes, Wynton continues to work tirelessly to contribute even more to our world’s cultural landscape. It has been said that he is an artist for whom greatness is not just possible, but inevitable. The most extraordinary dimension of Wynton Marsalis, however, is not his accomplishments but his character. It is the lesser-known part of this man who finds endless ways to give of himself. It is the person who waited in an empty parking lot for one full hour after a concert in Baltimore, waiting for a single student to return from home with his horn for a trumpet lesson. It is the citizen who personally funds scholarships for students and covers medical expenses for those in need. Immediately following Hurricane Katrina, Wynton organized the Higher Ground Hurricane Relief Concert and raised over $3 million for musicians and cultural organizations impacted by the hurricane. At the same time, he assumed a leadership role on the Bring Back New Orleans Cultural Commission where he was instrumental in shaping a master plan that would revitalize the city’s cultural base.

Wynton Marsalis has selflessly donated his time and talent to non-profit organizations throughout the country to raise money to meet the many needs within our society. From My Sister’s Place (a shelter for battered women) to Graham Windham (a shelter for homeless children), the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons (a food bank for the elderly and disadvantaged), Very Special Arts (an organization that provides experiences in dance, drama, literature, and music for individuals with physical and mental disabilities) to the Newark Boys Chorus School (a full-time academic music school for disadvantaged youths) and many, many more – Wynton responded enthusiastically to the call for service. It is Wynton Marsalis’ commitment to the improvement of life for all people that portrays the best of his character and humanity. In 2011 Wynton joined with Harvard University President, Drew Faust to present a series of 6 lectures to the student body over 3 years. The series entitles Hidden In Plain View: Hidden Meanings in American Music was developed to foster a stronger appreciation of the arts and a higher level of cultural literacy amount college students.

Honorary Degrees Brown University (Doctor of Music, 1988 ) Southern University at New Orleans (Doctor of Music, 1988) University at Buffalo – State University of New York (Doctor of Music, 1989) Boston University (Doctor of Music, 1992) University of Miami (Doctor of Music, 1994) Hunter College (Doctor of Humane Letters, 1995) Manhattan School of Music (Doctor of Music, 1995) Princeton University (Doctor of Arts, 1995) Yale University (Doctor of Music, 1995) Brandeis University (Doctor of Humane Letters, 1996) Columbia University (Doctor of Music, 1996) Governors State University (Doctor of Humane Letters, 1996) Rensselaer Polytechnic Institute (Doctor of Fine Arts, 1996) University of Scranton (Doctor of Fine Arts, 1996) Amherst College (Doctor of Music, 1997) Howard University (Doctor of Music, 1997) Long Island University (Doctor of Music, 1

997) Rutgers University (Doctor of Fine Arts, 1997) Bard College (Doctor of Fine Arts, 1998) University of Massachusetts Amherst (Doctor of Fine Arts, 1998) Middlebury College (Doctor of Arts, 2000) University of Pennsylvania (Doctor of Music, 2000) Clark Atlanta University (Doctor of Humane Letters, 2001) Connecticut College (Doctor of Fine Arts, 2001) Bloomfield College (Doctor of Fine Arts, 2004) New York University (Doctor of Fine Arts, 2007) State University of New York at Potsdam (Doctor of Music, 2010) The College of New Rochelle (Doctor of Humane Letters, 2011) Wynton Marsalis - Music on Google Play Wynton Marsalis About the artist The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start.

In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players. There had been a major shortage of new trumpeters since 1970, but Marsalis' sudden prominence inspired an entire new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis' quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis' late acoustic work as their starting point. During his career, Marsalis has managed to be a controversial figure despite his obvious abilities.

His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and '70s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch, and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove, have been directly helped by Marsalis. Marsalis' trumpet playing has been both overcriticized and (at least early on) overpraised. When he first arrived on the scene with the Jazz Messengers, his original inspiration was Freddie Hubbard. However, by the time he began leading his own group, Marsalis often sounded very close to Miles Davis (particularly when holding a long tone), although a version of Davis with virtuosic technique. He was so widely praised by the jazz press at the time (due to their relief that the future of jazz finally seemed safe) that there was an inevitable backlash.

Marsalis' sometimes inaccurate statements about jazz of the '70s and the avant-garde in general made some observers angry, and his rather derivative tone at the time made it seem as if there was always going to have to be an asterisk by his name when evaluating his talents. Some listeners formed permanent impressions of Marsalis as a Miles Davis imitator, but they failed to take into account that he was still improving and developing. With the 1990 recording Tune in Tomorrow, Marsalis at last sounded like himself. He had found his own voice by exploring earlier styles of jazz (such as Louis Armstrong's playing), mastering the wah-wah mute, and studying Duke Ellington. From that point on, even when playing a Miles Davis standard, Marsalis had his own sound and has finally taken his place as one of jazz's greats. The son of pianist Ellis Marsalis, the younger brother of Branford and the older brother of Delfeayo and Jason (the Marsalis clan as a whole can be accurately called "The First Family of Jazz"), Wynton (who was named after pianist Wynton Kelly) received his first trumpet at age six from Ellis' employer, Al Hirt.

He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school. He went to Juilliard when he was 18 and in 1980 he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers. By 1981, the young trumpeter was the talk of the jazz world. He toured with Herbie Hancock (a double LP resulted), continued working with Blakey, signed with Columbia, and recorded his first album as a leader. In 1982, Marsalis not only formed his own quintet (featuring brother Branford and soon Kenny Kirkland, Charnett Moffett, and Jeff "Tain" Watts) but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time. His quintet with Branford lasted until late 1985, although a rift developed between the brothers (fortunately temporary) when Branford finally quit the band to tour with Sting's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls.

Marsalis' next group featured pianist Marcus Roberts, bassist Robert Hurst, and drummer Watts. Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor, bassist Reginald Veal, drummer Herlin Riley, and (by the early '90s) pianist Eric Reed. Marsalis really developed his writing during this era (being influenced by Duke Ellington) and the septet proved to be a perfect outlet for his arranging. Although Marsalis broke up the band by 1995, many of the musicians still appear in his special projects or with the Lincoln Center Jazz Orchestra. In 1997, Marsalis' marathon Blood on the Fields (which was released as a three-CD set) became the first jazz-based work to win a Pulitzer Prize. Standard Time, Vol. 5: The Midnight Blues followed a year later. With the passing of so many jazz giants, Marsalis' importance (as a trumpeter, leader, writer, and spokesman for jazz) continued to grow. Standard Time, Vol.

4: Marsalis Plays Monk followed in 1999 to coincide with the popular PBS special. Then, as if eight proper recordings in 1999 weren't enough, Columbia and Marsalis released an amazingly affordable seven-disc set entitled Live at the Village Vanguard. Mid-2000 saw the release of Marciac Suite and Goin' Down Home. Two years later, Marsalis celebrated the blues on All Rise. Next up was his first album for Blue Note, The Magic Hour, an album of original material released early in 2004. Later that year, the label released Unforgivable Blackness: The Rise and Fall of Jack Johnson, Marsalis' soundtrack to a Ken Burns documentary. Marsalis' second studio effort for Blue Note, the politically and socially aware From the Plantation to the Penitentiary, followed in 2007. In 2008, Marsalis teamed up with country icon Willie Nelson for the live album Two Men with the Blues which featured the duo performing over a two-night stint at Lincoln Center. The following year, Marsalis released the concept album He and She in which he explored the theme of relationships between men and women.

In 2011, he returned with the live album Here We Go Again: Celebrating the Genius of Ray Charles which once again paired him with Nelson as well as vocalist Norah Jones. Also in 2011, Marsalis, who had previously guested on guitarist Eric Clapton's 2010 album Clapton, again paired with rock/blues master for the concert album Play the Blues: Live from Jazz at Lincoln Center. Marsalis also contributed the score to Burns' 2011 documentary, Prohibition. Description provided by Scott Yanow, Rovi Top songs Wynton Marsalis | Biography, Albums, Streaming Links | AllMusic Wynton Marsalis Biography by Scott Yanow An esteemed trumpeter who worked tirelessly to ensure jazz's status as a respected American art form into the 21st century. Wynton Marsalis - Wikiquote Wynton Marsalis Jump to: navigation , search Wynton Marsalis Wynton Marsalis (born 18 October 1961) is an American trumpeter and composer. He is among the most prominent jazz musicians of the modern era, as well as a well known African American instrumentalist in classical music.

Attributed[ edit ] The first jazz musician was a trumpeter, Buddy Bolden, and the last will be a trumpeter, the archangel Gabriel. [1] I had a trumpet, but I didn't want to be a trumpet player. I wanted to be some type of athlete or in some type of scholarly activity, be a chemist or something—I had my little chemistry set, and I like playing with it. Flexibility is an essential part of Jazz. It's what gives Jazz music the ability to combine with all other types of music and not lose its identity. I think that virtuosity is the first sign of morality in a musician. It means you're serious enough to practice. The reason why the music is important is because it's an art form—an ancient art form—that takes in the mythology of our people. Some stances are just conducive to swinging. If I stand up straight for too long it's harder to swing. Plus my feet hurt. [2] (about rap and hip hop) They take your drawers off for you, they show your ass, they sell bullshit, they call themselves 'niggaz' and the women 'bitches' and 'hos' and it's fine with everybody.

That's what the essence of decadence is. [3] Quotes about Wynton Marsalis[ edit ] Wynton Marsalis' skills have grown as fast as his ambition, and he is the most ambitious younger composer in Jazz. Jon Pareles "Review/Jazz: Wynton Marsalis Takes a Long Look at Slavery," New York Times (4 April 1994):C-13. Wynton Marsalis | Download Music, Tour Dates & Video | eMusic Biography All Music Guide All Music Guide: The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players. There had been a major shortage of new trumpeters since 1970, but Marsalis' sudden prominence inspired an entire new crop of brass players.

The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis' quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis' late acoustic work as their starting point. During his career, Marsalis has managed to be a controversial figure despite his obvious abilities. His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and '70s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch, and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove, have been directly helped by Marsalis. Marsalis' trumpet playing has been both overcriticized and (at least early on) overpraised. When he first arrived on the scene with the Jazz Messengers, his original inspiration was Freddie Hubbard.

However, by the time he began leading his own group, Marsalis often sounded very close to Miles Davis (particularly when holding a long tone), although a version of Davis with virtuosic technique. He was so widely praised by the jazz press at the time (due to their relief that the future of jazz finally seemed safe) that there was an inevitable backlash. Marsalis' sometimes inaccurate statements about jazz of the '70s and the avant-garde in general made some observers angry, and his rather derivative tone at the time made it seem as if there was always going to have to be an asterisk by his name when evaluating his talents. Some listeners formed permanent impressions of Marsalis as a Miles Davis imitator, but they failed to take into account that he was still improving and developing. With the 1990 recording Tune in Tomorrow, Marsalis at last sounded like himself. He had found his own voice by exploring earlier styles of jazz (such as Louis Armstrong's playing), mastering the wah-wah mute, and studying Duke Ellington. From that point on, even when playing a Miles Davis standard, Marsalis had his own sound and has finally taken his place as one of jazz's greats.

The son of pianist Ellis Marsalis, the younger brother of Branford and the older brother of Delfeayo and Jason (the Marsalis clan as a whole can be accurately called "The First Family of Jazz"), Wynton (who was named after pianist Wynton Kelly) received his first trumpet at age six from Ellis' employer, Al Hirt. He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school. He went to Juilliard when he was 18 and in 1980 he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers. By 1981, the young trumpeter was the talk of the jazz world. He toured with Herbie Hancock (a double LP resulted), continued working with Blakey, signed with Columbia, and recorded his first album as a leader.

In 1982, Marsalis not only formed his own quintet (featuring brother Branford and soon Kenny Kirkland, Charnett Moffett, and Jeff "Tain" Watts) but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time. His quintet with Branford lasted until late 1985, although a rift developed between the brothers (fortunately temporary) when Branford finally quit the band to tour with Sting's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls. Marsalis' next group featured pianist Marcus Roberts, bassist Robert Hurst, and drummer Watts. Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordon, altoist Wes Anderson, Todd Williams on tenor, bassist Reginald Veal, drummer Herlin Riley, and (by the early '90s) pianist Eric Reed. Marsalis really developed his writing during this era (being influenced by Duke Ellington) and the septet proved to be a perfect outlet for his arranging.

Although Marsalis broke up the band by 1995, many of the musicians still appear in his special projects or with the Lincoln Center Jazz Orchestra. In 1997, Marsalis' marathon Blood on the Fields (which was released as a three-CD set) became the first jazz-based work to win a Pulitzer Prize. Standard Time, Vol. 5: The Midnight Blues followed a year later. With the passing of so many jazz giants, Marsalis' importance (as a trumpeter, leader, writer, and spokesman for jazz) continued to grow. Standard Time, Vol. 4: Marsalis Plays Monk followed in 1999 to coincide with the popular PBS special. Then, as if eight proper recordings in 1999 weren't enough, Columbia and Marsalis released an amazingly affordable seven-disc set entitled Live at the Village Vanguard. Mid-2000 saw the release of Marciac Suite and Goin' Down Home. Two years later, Marsalis celebrated the blues on All Rise. Next up was his first album for Blue Note, The Magic Hour, an album of original material released early in 2004.

Later that year, the label released Unforgivable Blackness: The Rise and Fall of Jack Johnson, Marsalis' soundtrack to a Ken Burns documentary. Marsalis' second studio effort for Blue Note, the politically and socially aware From the Plantation to the Penitentiary, followed in 2007. In 2008, Marsalis teamed up with country icon Willie Nelson for the live album Two Men with the Blues which featured the duo performing over a two-night stint at Lincoln Center. The following year, Marsalis released the concept album He and She in which he explored the theme of relationships between men and women. In 2011, he returned with the live album Here We Go Again: Celebrating the Genius of Ray Charles which once again paired him with Nelson as well as vocalist Norah Jones. Also in 2011, Marsalis, who had previously guested on guitarist Eric Clapton's 2010 album Clapton, again paired with rock/blues master for the concert album Play the Blues: Live from Jazz at Lincoln Center. Marsalis also contributed the score to Burns' 2011 documentary, Prohibition.

Wynton Marsalis Interview Transcript | Scholastic Back Wynton Marsalis Interview Transcript The Grammy Award-winning musician joined us for an interview in February of 2002. Read a transcript of that interview below. Grades 3–5, 6–8 Born October 18, 1961, in New Orleans, Louisiana, Wynton Marsalis began studying trumpet when he was twelve years old. Today he is one of the most famous jazz musicians alive. He has made over 40 music recordings both in jazz and in classical music and he has won nine Grammy awards! Today he is the Artistic and Managing Director for Jazz at Lincoln Center in New York City, the world's largest arts organization devoted to jazz. One of the best parts of his job is to teach about jazz. This is one reason why he wrote a jazz curriculum for students and teachers called Jazz for Young People . Wynton Marsalis hopes that you can learn more about the history and the theory behind jazz so you can enjoy it more in the future. Question: How does one go about purchasing your jazz curriculum? I have your videos and they are excellent! Mr.

Marsalis: Go to the Jazz for Young People: Curriculum page of the Jazz Academy website . The cost is about $300. Question: I learned to play the trumpet when I was 13. How old were you? Mr. Marsalis: I started playing when I was 6, but I didn't start practicing until I was 12. Question: How many hours do you practice the trumpet? Mr. Marsalis: When I was in high school, four or five hours every day, at least — sometimes more. Question: Who inspired you to become a musician? Mr. Marsalis: My father. My father is a musician and an educator. Question: Do you play any other instrument besides trumpet? Mr. Marsalis: I play piano and drums very poorly and French horn and tuba all equally as bad. Question: Do you have any other profession other than music? Mr. Marsalis: No. Question: How did your family support you doing music when you were young? Mr. Marsalis: My mother always took my brothers and me to music lessons. There were six children. Our parents attended our concerts and encouraged us to study and enjoy many different types of music.

They allowed us to stay out late at night playing in bands when we were in high school and supported us moving to other cities to continue our education and learn our craft. Question: When you were young, where in New Orleans did you first hear jazz? Did you like it right away, and did you parents like it? Did certain teachers inspire you, and did you ever think you would grow up to have so much impact on jazz? Mr. Marsalis: My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz. When I was 12, I began listening to John Coltrane and I developed a love for jazz, which I still have more and more each year. The name of Coltrane's album that influenced me is "My Favorite Things." Question: Then how did you start to play jazz if you didn't like it at first? Mr.

Marsalis: I learned simple songs that many New Orleans's musicians knew, like "When the Saints Go Marching In." Question: What do you like about jazz, and what gave you the inspiration to work with kids and jazz? Did you ever give lessons or teach music? Mr. Marsalis: Jazz provides a painless way to learn about the best in American culture. My father is a teacher and I've had the opportunity to be a teacher for many years. I love working with kids. I love to take lessons, and I love to give lessons. Question: I'm a fifth grade teacher. How would you suggest I use jazz in my classroom? Mr. Marsalis: The music can teach geography, where the different musicians are from. It can help with math, the way forms are laid out, the way musical forms are counted, rhythms. I can teach sociology, when you get into the different social philosophies of different musicians. It gives students confidence in their own individuality, when you learn how musicians develop their own identities and sounds. Question: I'm 13 and I love music. Would you suggest getting into jazz? And why? Mr. Marsalis: You love music, you have to love jazz.

Because jazz allows us to make up your own music and play with other people that are doing the same thing. Jazz is challenging music and it feels good to play a good solo. Question: What do you think of music today (rap, rock, punk, r&b, etc)? Mr. Marsalis: I have very little respect for most of those forms. I know they are popular, but I feel that the social content is very high (how you look or what happened to you in your life), but the musical content is very low. That means, can you actually play the instrument or sing? I find that the personality becomes more important than the music. One of the main objectives of education is, how does a young person successfully grow to adulthood? Question: If I were to play jazz, how would I get started? Mr. Marsalis: Just like you would if you were learning how to talk, learning phrases and simple songs and doing the best you can to make sense out of it. Question: Do you like jazz more from the 1930s or the 1990s? Mr. Marsalis: I don't prefer any decade. Jazz is jazz to me.

Question: Do you like Charlie Parker? Mr. Marsalis: I love him. Question: Do you like Miles Davis? And did he inspire you? Mr. Marsalis: Yes, a great deal. I was especially inspired by his earlier music, before 1969. Question: Do you like Benny Goodman? Mr. Marsalis: Yes. Next year we are presenting a concert of his music. Question: Did Goodman inspire you? Mr. Marsalis: Not so much, because he was a clarinet player; I was inspired mainly by trumpet players. Question: Who else do you admire in music? Mr. Marsalis: Many, many musicians. Too many to name. Question: Which musician influenced you the most? Mr. Marsalis: Several, for different reasons. [Thelonius] Monk for thematic development and for being modern without being ugly. Duke Ellington for range of creativity and fortitude. Lester Young for sweetness of sound and steel of personality. Louis Armstrong for the power of phrasing and the subtlety of a finely nuanced tone. Jimmy Yancey for down-home hoop and the proper swoop. Charlie Parker for making sure that you never become arrogant.

John Coltrane just because. Billy Holiday for phrasing and intent. Count Basie because he took his time. Question: What about Ella Fitzgerald? Mr. Marsalis: Her too and the rest of them too. Question: What do you think about jazz-rock fusion? Mr. Marsalis: I think some of it is interesting. Question: When you were in school, did you have problems with other children and other people who looked down on you because of your race? Mr. Marsalis: Yes, I had many a little skirmish with kids using the "n" word and being happy about it. But when I was a kid there was a general level of disrespect that was tolerated much more than now, 30 years later. Question: What other types of music do you like? Do you like country? Mr. Marsalis: Yes, I like bluegrass and folk music. I like tango music. I like samba music. I like classical music. I like traditional Japanese music. I like fiddle music. Question: What is your favorite style of jazz? Mr. Marsalis: I don't have a favorite style. Question: Do you like free jazz? Mr.

Marsalis: Not that much, but it's a good tool for education because it allows students to just invent without knowing any form; it allows for free expression of emotion and feeling. Question: Do you like swing music? Mr. Marsalis: Yes. Question: Do you have any suggestions for getting young people, especially teenagers, to appreciate jazz? Mr. Marsalis: Just expose them to the music; it's all a matter of exposure. Question: Do you have any goals you haven't accomplished yet, but would like to? Mr. Marsalis: Many. I won't tell you, because if I fail to meet them I don't want you to mess with me about it. Question: Can you talk about any future projects you have in store with students? Mr. Marsalis: Jazz at Lincoln Center will continue to have programs for students of all sizes around the world because that's what we love to do. Question: Do you have any trouble with your students? Mr. Marsalis: Never. I take the students at their own level, but realize that they respond positively to the authority of an adult as long as you don't beat them over the head with it. Some schools are very tough.

Those students require more time and more love, but the problem is generally not with students, but with parents. Question: Which jazz album do you suggest for beginners? Mr. Marsalis: Miles Davis, Kind of Blue. Duke Ellington, Three Suites. Ella Fitzgerald, The Cole Porter Song Book. And many others. Question: Who's the greatest jazz musician today? Mr. Marsalis: Sonny Rollins and some others. Question: How much personality do you put in your music? How much politics? Mr. Marsalis: Music is more specific than your voice. Everything about you is in every note. There's nothing you can do about it because music is too abstract a language to permit dishonesty. Question: What age range is the best to introduce students to jazz? Mr. Marsalis: Any age. Early to late. Question: Do you like the blues? Mr. Marsalis: Oh, yes. You can't get any higher than the blues — or lower. Thank you very much for tuning in today. You all have been very sweet and now I can go about my day with a much better attitude.

To learn more about Wynton Marsalis, visit his own website or his biography and leadership profile from Jazz at Lincoln Center. × Wynton Marsalis - YouTube Wynton Marsalis The next video is starting stop 31,104 views 4 months ago August 11, 2016 Marciac, France The Wynton Marsalis Quintet playing at Jazz in Marciac 2016 Wynton Marsalis (trumpet), Walter Blanding (sax), Carlos Henriquez (bass), Dan Nimmer (piano), Ali Jackson (drums). Show less Wynton Marsalis | Biography & History | AllMusic google+ Artist Biography by Scott Yanow The most famous jazz musician since 1980, Wynton Marsalis had a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis ' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players.

There had been a major shortage of new trumpeters since 1970, but Marsalis ' sudden prominence inspired an entire new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis ' quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis ' late acoustic work as their starting point. During his career, Marsalis has managed to be a controversial figure despite his obvious abilities. His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and '70s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch , and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis ' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove , have been directly helped by Marsalis . Marsalis ' trumpet playing has been both over-criticized and (at least early on) overpraised.

When he first arrived on the scene with the Jazz Messengers, his original inspiration was Freddie Hubbard . However, by the time he began leading his own group, Marsalis often sounded very close to Miles Davis (particularly when holding a long tone), although a version of Davis with virtuosic technique. He was so widely praised by the jazz press at the time (due to their relief that the future of jazz finally seemed safe) that there was an inevitable backlash. Marsalis ' sometimes inaccurate statements about jazz of the '70s and the avant-garde in general made some observers angry, and his rather derivative tone at the time made it seem as if there was always going to have to be an asterisk by his name when evaluating his talents. Some listeners formed permanent impressions of Marsalis as a Miles Davis imitator, but they failed to take into account that he was still improving and developing. With the 1990 recording Tune in Tomorrow , Marsalis at last sounded like himself. He had found his own voice by exploring earlier styles of jazz (such as Louis Armstrong 's playing), mastering the wah-wah mute, and studying Duke Ellington .

From that point on, even when playing a Miles Davis standard, Marsalis had his own sound and has finally taken his place as one of jazz's greats. The son of pianist Ellis Marsalis , the younger brother of Branford and the older brother of Delfeayo and Jason (the Marsalis clan as a whole can be accurately called "The First Family of Jazz"), Wynton (who was named after pianist Wynton Kelly ) received his first trumpet at age six from Ellis ' employer, Al Hirt . He studied both classical and jazz and played in local marching bands, funk groups, and classical orchestras. Marsalis played first trumpet in the New Orleans Civic Orchestra while in high school. He went to Juilliard when he was 18 and in 1980 he made his first recordings with the Art Blakey Big Band and joined the Jazz Messengers. By 1981, the young trumpeter was the talk of the jazz world. He toured with Herbie Hancock (a double LP resulted), continued working with Blakey , signed with Columbia, and recorded his first album as a leader.

In 1982, Marsalis not only formed his own quintet (featuring brother Branford and soon Kenny Kirkland , Charnett Moffett , and Jeff "Tain" Watts ) but recorded his first classical album; he was immediately ranked as one of the top classical trumpeters of all time. His quintet with Branford lasted until late 1985, although a rift developed between the brothers (fortunately temporary) when Branford finally quit the band to tour with Sting 's pop group. By that time Wynton was a superstar, winning a countless number of awards and polls. Marsalis ' next group featured pianist Marcus Roberts , bassist Robert Hurst , and drummer Watts . Over time the group grew to become a four-horn septet with trombonist Wycliffe Gordon , altoist Wes Anderson , Todd Williams on tenor, bassist Reginald Veal , drummer Herlin Riley , and (by the early '90s) pianist Eric Reed . Marsalis really developed his writing during this era (being influenced by Duke Ellington ) and the septet proved to be a perfect outlet for his arranging.

Although Marsalis broke up the band by 1995, many of the musicians still appear in his special projects or with the Lincoln Center Jazz Orchestra . In 1997, Marsalis ' marathon Blood on the Fields (which was released as a three-CD set) became the first jazz-based work to win a Pulitzer Prize. Standard Time, Vol. 5: The Midnight Blues followed a year later. With the passing of so many jazz giants, Marsalis ' importance (as a trumpeter, leader, writer, and spokesman for jazz) continued to grow. Standard Time, Vol. 4: Marsalis Plays Monk followed in 1999 to coincide with the popular PBS special. Then, as if eight proper recordings in 1999 weren't enough, Columbia and Marsalis released an amazingly affordable seven-disc set entitled Live at the Village Vanguard . Mid-2000 saw the release of Marciac Suite and Goin' Down Home . Two years later, Marsalis celebrated the blues on All Rise . Next up was his first album for Blue Note, The Magic Hour , an album of original material released early in 2004.

Later that year, the label released Unforgivable Blackness: The Rise and Fall of Jack Johnson , Marsalis ' soundtrack to a Ken Burns documentary. Marsalis ' second studio effort for Blue Note, the politically and socially aware From the Plantation to the Penitentiary , followed in 2007. In 2008, Marsalis teamed up with country icon Willie Nelson for the live album Two Men with the Blues , which featured the duo performing over a two-night stint at Lincoln Center. The following year, Marsalis released the concept album He and She , in which he explored the theme of relationships between men and women. In 2011, he returned with the live album Here We Go Again: Celebrating the Genius of Ray Charles , which once again paired him with Nelson as well as vocalist Norah Jones . That same year, Marsalis , who had previously guested on guitarist Eric Clapton 's 2010 album Clapton , again paired with the rock/blues master for the concert album Play the Blues: Live from Jazz at Lincoln Center . Also in 2011, Marsalis contributed the score to Burns ' documentary Prohibition.

Over the next few years, Marsalis kept busy performing, as well as appearing regularly on television as a cultural correspondent for CBS Sunday Morning. He also joined the Jazz at Lincoln Center Orchestra ( JLCO ) for Live in Cuba , a 2015 two-disc release featuring the ensemble's first-ever performances in Cuba. In 2016, Marsalis released The Abyssinian Mass , a recording of his 2008 composition commemorating the 200th anniversary of Harlem's Abyssinian Baptist Church. An extensive work, The Abyssinian Mass showcased the connections between secular and sacred music and featured the JLCO along with Damien Sneed and Chorale le Chateau .

Question: Wynton Marsalis is known for playing what type of music?
Answer: Jazz