01. Hallelujah I Love Her So 4:56
02. Come Rain Or Come Shine 3:52		play
03. Unchain My Heart 5:35
04. Cryin' Time 4:33
05. Losing Hand 5:16
06. Hit The Road Jack 7:45
07. I'm Moving On 5:44
08. Busted 5:04
09. Here We Go Again 5:10
10. Makin' Whoopee 4:54
11. I Love You So Much (It Hurts) 2:53	play
12. What'd I Say 6:12

Personnel: 
Willie Nelson: vocals, guitar; 
Wynton Marsalis: trumpet; 
Norah Jones: piano, vocals; 
Mickey Raphael: harmonica; 
Walter Blanding: tenor saxophone; 
Dan Nimmer: piano; 
Carlos Henriquez: bass; 
Ali Jackson Jr: drums, percussion.

After the success of Two Men With the Blues (Blue Note, 2008), Here We Go Again: Celebrating the Genius of Ray Charles is a welcome inevitability. The addition of the like-minded Norah Jones to the mix is just gravy, properly augmenting a Ray Charles tribute.

With the possible exception of Van Morrison, only Willie Nelson exists as the logical heir to Charles' mantle. Like Charles, Nelson's aptitude has been promiscuous, gobbling up and transforming genres previously not associated with him. Nelson's Stardust (Columbia, 1978) became a classic crossover recording, combining the organic features of country music with the Great American songbook. Now Nelson faces head on one of the most substantial American musical artists.

With vocal duet/sparring partner Jones, Nelson arranges the Charles book into a love affair suite. Such clever programing is a rare commodity today. Hot, cool and gone are the phases marked by "Hallelujah," "I Love You So Much It Hurts," "Cryin' Time" and "Hit The Road Jack." Jones proves Nelson's vocal equal on "Come Rain Or Come Shine" and "Here We Go Again" (the song also dueted with Charles on Genius Loves Company) and delivers a slippery "Makin' Whoopie."

The instrumental side of things is held firmly down by Wynton Marsalis and Mickey Raphael, who both turn in spirited solos throughout the recording. Here We Go Again could be accused of cashing in, but that would not be fair considering the superb musicianship and thought that went into its programming. ---C. Michael Bailey

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1 	Santa Claus Is Coming To Town	4:50
2 	Mary Had A Baby 	4:04
3 	Jingle Bells	4:43
4 	Blue Christmas	5:25
5 	Go Tell It On The Mountain 	7:09
6 	O Christmas Tree 	7:25
7 	O Little Town Of Bethlehem 	7:22
8 	Rudolph The Red-Nosed Reindeer	6:06
9 	The Christmas Song	5:30
10 	Good King Wenceslas 	6:50
11 	Have Yourself A Merry Little Christmas	7:08
12 	Greensleeves	2:08

Alto Saxophone – Wessell Anderson
Banjo, Guitar – Don Vappie
Bass – Reginald Veal
Bass Clarinet, Baritone Saxophone – Paul Nedzela
Clarinet – Victor Goines
Drums – Herlin Riley
Piano – Dan Nimmer
Tenor Saxophone, Soprano Saxophone – Victor Goines, Walter Blanding
Trombone – Vincent Gardner, Wycliffe Gordon
Trumpet – Wynton Marsalis
Tuba – Wycliffe Gordon
Vocals – Don Vappie, Roberta Gumbel

It's been over twenty years since jazz musician Wynton Marsalis released his last holiday-themed album, 1989's Crescent City Christmas Card, but the famed trumpeter one-ups that release with his fantastic new effort, Christmas Jazz Jam (this was originally released in November 2009, but considering that holiday records only get a month or two of exposure at best, it only seems fitting that we revisit this particular recording this season).

There's little doubt of Marsalis' influence in the world of jazz. He's been recording dozens of his own albums (both jazz and classical) since 1981, has received nine Grammy awards, as well as being the first to be awarded a Pulitzer Prize for Music for a jazz recording (his 1997 album Blood On The Fields, which deals with a couple moving from slavery to freedom). In addition, Marsalis is also currently the Artistic Director of NYC's Jazz at Lincoln Center. Perhaps even more significant, though, is that this 49-year old musician continues to educate today's youth on the importance of jazz (as well as classical) music to ensure that this uniquely American style of music continues to thrive for future generations.

What Marsalis and his 10-piece band have brought to the holiday table for this tasty platter are a dozen Christmas chestnuts that are as loose as they are festive. There's little surprise that Wynton's hometown and the cradle of jazz, New Orleans, should play such a significant role on these numbers. In fact, the jubilant, good-natured vibe of the city permeates through nearly every track. Classics such as "Blue Christmas" sound as if you're in the middle of a Crescent City funeral street procession, before the second line kicks up their heels on the festive songs "Jingle Bells" (which finds Wynton tapping into the spirit of the great Louis Armstrong with his bawdy, high-stepping trumpet solo), "O Christmas Tree," "Good King Wenceslas" and even the age-old gospel spiritual "Go Tell It On The Mountain," which injects the runaway exuberance of the early jazz classic "Tiger Rag" before the tempo slows down to showcase the band's jovial looseness, as if they were jamming for no one but themselves in the back-room of a club with a punchbowl full of rum-spiked eggnog.

Other tracks such as "Rudolph The Red-Nosed Reindeer" and "Have Yourself A Merry Little Christmas" take on a wonderful post-Be-Bop jazz approach, while the band's closing take on the traditional English folk song "Greensleeves" showcases Marsalis' musical prowess with a poignant and beautifully bittersweet trumpet performance throughout.

Whether you're a lover of jazz, New Orleans music, or just want a fun and refreshing new take on some old Christmas standards, this must-have holiday collection will not disappoint. ---Tony Bonyata, concertlivewire.com

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01. Carol of the Bells
02. Silent Night
03. Hark! The Herald Angels Sing
04. Little Drummer Boy
05. We Three Kings
06. Oh Tannenbaum
07. Sleigh Ride
08. Let It Snow! Let It Snow! Let It Snow!
09. God Rest Ye Merry Gentlemen
10. Winter Wonderland
11. Jingle Bells
12. O Come All Ye Faithful
13. Twas The Night Before

Wessell Anderson - Sax (Alto)
Alvin Batiste - Clarinet
Kathleen Battle - Soprano (Vocal)
Wycliffe Gordon - Trombone
Wynton Marsalis - Trumpet
Ben Riley - Drums
Herlin Riley - Drums
Marcus Roberts - Piano
Joe Temperley - Clarinet (Bass), Sax (Baritone)
Reginald Veal - Bass
Todd Williams - Clarinet, Sax (Soprano), Sax (Tenor)

Due to some of his statements, Wynton Marsalis gained the reputation of not having much of a sense of humor but the picture of him on this album (plus the music in general) dispelled that notion. Marsalis and his expanded septet (which welcomed such guests as clarinetist Alvin Batiste, baritonist Joe Temperley and, on one song apiece, singers Jon Hendricks and Kathleen Battle) clearly have a good time on this joyous and unpredictable set of holiday cheer. ---Scott Yanow, Rovi

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A1 	Stardust 	4:07
A2 	Lazy Afternoon 	5:03
A3 	For All We Know 	6:15
A4 	When You Wish Upon A Star 	4:40
B1 	Django 	4:52
B2 	Melancholia 	5:09
B3 	Hot House Flowers 	5:46
B4 	I'm Confessin' (That I Love You) 	5:41

Wynton Marsalis – trumpet
Branford Marsalis – soprano and tenor saxophone
Kent Jordan - flute
Kenny Kirkland – piano
Ron Carter – double bass
Jeff "Tain" Watts – drums
Robert Freedman – conductor, arranger

Wynton Marsalis, very much in his Miles Davis period, plays quite melodically throughout this ballad-dominated outing with strings. Branford Marsalis (on tenor and soprano), flutist Kent Jordan, pianist Kenny Kirkland, bassist Ron Carter, and drummer Jeff Watts are strong assets but it is Wynton's subtle creativity on such songs as "Stardust," "When You Wish Upon a Star," Duke Ellington's "Melancholia," and "I'm Confessin'" that makes this recording special. The arrangements by Robert Freedman generally keep the strings from sounding too sticky and Wynton's tone is consistently beautiful. ---Scott Yanow, Rovi

Thanks to Bob Freedman (Berklee College of Music, arranger and composer) who arranged so well this album. It's not just some strings playing guide tones, it's a whole work of melodic construction and harmonisation. He made simple tunes sound like never before. Just great. Wynton, very talented was a good player for the arrangements. At this age he already had a very strong attitude in his sound. I would recommend this album not only for trumpet players, jazz musicians, but to composers and arrangers. Listen to Bob, he did a great job. ---Hugo Miura, amazon.com

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01 – Ice Cream
02 – Fourty-Four
03 – Joe Turner’s Blues
04 – The Last Time			play
05 – Careless Love
06 – Kidman Blues
07 – Layla
08 – Joliet Bound			play
09 – Just A Closer Walk With Thee (feat. Taj Mahal) 
10 – Corrine, Corrina (feat. Taj Mahal)

Musicians:
Trumpet -Wynton Marsalis
Guitar, Vocals – Eric Clapton
Trumpet – Marcus Printup
Trombone – Chris Crenshaw
Clarinet – Victor Goines
Piano – Dan Zimmer
Bass – Carlos Henriquez
Drums – Alan Jackson
Keyboards – Chris Stainton
Banjo – Don Vappie
Special Guest
Guitar, Vocals – Taj Mahal

New York City’s premier jazz venue got the blues last April when Wynton Marsalis and Eric Clapton performed together in Rose Theater at Frederick P. Rose Hall, home of Jazz at Lincoln Center for two sold-out shows dedicated to vintage blues. The extraordinary collaboration, billed as Wynton Marsalis & Eric Clapton Play the Blues, paired these musical virtuosos with members of the Jazz at Lincoln Center Orchestra as they brought to life a repertoire of songs selected by Clapton and arranged by Marsalis.

Reprise Records captures the magic of these unprecedented shows from earlier this year on CD and as a CD/DVD combo that both feature selections taken from the two public concerts (April 8-9), as well a special performance for Jazz at Lincoln Center’s annual gala (April 7). WYNTON MARSALIS & ERIC CLAPTON PLAY THE BLUES - LIVE FROM JAZZ AT LINCOLN CENTER will be available September 13 at physical and digital retail outlets for suggested list prices of $18.98 (CD), $24.98 (CD/DVD) and $9.99 (digital – audio only). The DVD will also feature a bonus performance of the classic “Stagger Lee” from legendary bluesman Taj Mahal’s opening solo set for these special shows.

Marsalis, Artistic Director of Jazz at Lincoln Center and nine-time Grammy Award winner, writes about his collaboration with Clapton, a 19-time Grammy recipient, in the album’s liner notes: “...we wanted these concerts to sound like people playing music they know and love, not like a project.”

To help them achieve that level of devotion, Marsalis and Clapton were joined on stage by Dan Nimmer (piano), Carlos Henriquez (bass), Ali Jackson (drums), Marcus Printup (trumpet), Victor Goines (clarinet), Chris Crenshaw (trombone, vocals), Don Vappie (banjo) and Clapton’s longtime keyboarist/sideman Chris Stainton. Marsalis says the group combined the sound of an early blues jump-band with the sound of New Orleans jazz to accommodate the integration of guitar/trumpet lead, a combination that gave the musicians the latitude to play different grooves, from the Delta to the Caribbean and beyond.

The band nimbly navigated a diverse set list that touched on different styles, from the four-on-the-floor swing of Louis Armstrong’s “Ice Cream” and the southern slow-drag of W.C. Handy’s “Joe Turner’s Blues” to the traveling blues of “Joliet Bound” and the boogie-woogie jump of “Kidman Blues.” After opening the shows with his solo set, Mahal returned to join the band on “Corrine, Corrina” and the New Orleans funeral standard “Just A Closer Walk With Thee.”

The one song not selected by Clapton for the show was his own “Layla,” which was requested by bassist Henriquez and arranged as a Crescent City dirge to tremendous results. On his review of the performance, David Fricke of Rolling Stone wrote: “In the [song’s] instrumental break, Clapton hit a series of stabbing licks lightly crusted with distortion, followed by Marsalis’ slow parade of clean hurting peals – a moving dialogue in lovesickness and blues routes.” --- whereseric.com

Największy biały bluesman i geniusz jazzowej trąbki na wyjątkowym, wyprzedanym koncercie w legendarnym miejscu dla nowojorskiego i światowego jazzu. Koncert w Lincoln Center Performances z kwietnia 2011 roku prezentuje Erica i Wyntona wykonującego bluesowe klasyki wybrane przez Anglika. Wyjątkowe aranżacje urzekają pięknem. Podkolorowuje je pięknie Lincoln Center Orchestra. Eric Clapton i Wynton Marsalis są wspomagani przez następujących muzyków: Dan Nimmer (fortepian), Carlos Henriquez (gitara basowa), Ali Jackson (perkusja), Marcus Printup (trąbka), Victor Goines (klarnet), Chris Crenshaw (puzon), Don Vappie (banjo), Chris Stainton (klawisze).

W zestawie znalazła się też nieśmiertelna "Layla", a w kilku piosenkach na scenie pojawił się Taj Mahal. Koncert miał niesamowitą temperaturę, co nieźle odzwierciedlają jego wybrane fragmenty, które zapisano na CD i DVD. Chcieliśmy, aby nasz występ brzmiał tak, żeby ludzie czuli, że ci dwaj faceci grają muzykę, którą kochają, a nie, że jest to przypadkowy projekt - mówił Marsalis. I nie ma wątpliwości, że czuć, że on i Eric te piosenki kochają. Edycja specjalna z dołączonym DVD z zarejestrowanymi utworami z koncertu, jako bonus - utwór: "Stagger Lee", którego nie ma na płycie CD. ---amazonka.pl

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01. Welcome   
02. Cherokee   
03. The Egyptian Blues    
04. Embraceable you     
05. Black Codes From the Underground     
06. Harriet Tubman    
07. Monk’s Mood    
08. And The Band Played On    
09. The Cat In The Hat Is Back    
10. (Set Break)

Wynton Marsalis - trumpet; 
Wessell Anderson - alto saxophone; 
Todd Williams - tenor and soprano saxophones, clarinet; 
Wycliffe Gordon - trombone; 
Marcus Roberts - piano; 
Reginald Veal - bass; 
Herlin Riley - drums.

As if releasing eight single albums in 1999 weren't enough, Wynton Marsalis capped this deluge of material at the end of the year with a seven-CD mini-box of live recordings, taped over a five-year span at New York City's Village Vanguard club. Greed certainly wasn't the motive, for Sony Music priced the set at an unbelievably low $39.98, so the issue is whether Marsalis is justified in feeling that his music is worth documenting in such exhaustive detail. Each disc is organized to simulate a different night of the week, with a different, often loosely defined, and not-always-followed theme for each disc. The box reflects the Marsalis septet in a joyous mood as it hit the the Vanguard stage each night, spurred on by a vocal, exuberant throng packed into the small, wedge-shaped joint. The well-drilled septet was capable of assimilating a varied, if selective, spectrum of jazz tradition, from the New Orleans funeral music and handkerchief-waving street sass of "Flee As a Bird to the Mountain/Happy Feet Blues" to the sizzling post-bop of "The Cat in the Hat Is Back." Their indefatigable trumpeter/leader is the most liberated, expressive player of the lot. Along with a selection of standards and originals, there are also full-length and excerpted live treatments of some of Marsalis' extended pieces. A number of the performances, particularly of some of his own material, are a bit too well drilled; the loosest contrapuntal New Orleans jams go over the best for the home listener. In the grand scheme of jazz history, this music won't rank with some other landmark sessions at the Vanguard in terms of influence or transcendence. Yet the music deserves a hearing as an extended souvenir of one of the most talented neo-conservative bands of the '90s. ---Richard S. Ginell, Rovi

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1.	When It’s Sleepytime Down South
2.	Stardust
3.	Embraceable You
4.	Reflections
5.	After You’ve Gone
6.	The Seductress
7.	My Ideal
8.	Spring Yaounde
9.	Melancholia
10.	Where or When
11.	I Guess I’ll Hang My Tears Out To Dry
12.	April in Paris
13.	I Can’t Get Started
14.	Flamingo

Wes Anderson - Sax (Alto)
Alvin Batiste - Clarinet
Walter Blanding - Sax (Tenor)
Phil Bowler - Bass
Ron Carter  - Bass
Victor Goines - Sax (Tenor)
Wycliffe Gordon - Trombone
Herbert Harris - Sax (Tenor)
Shirley Horn - Vocals
Robert Hurst - Bass
Kent Jordan - Flute (Alto)
Kenny Kirkland - Piano
Branford Marsalis  - Sax (Soprano), Sax (Tenor)
Ellis Marsalis - Piano
Wynton Marsalis - Trumpet, Vocals
Lewis Nash - Drums
Eric Reed - Piano
Herlin Riley - Drums
Joe Temperley - Sax (Baritone)
Reginald Veal - Bass
Jeff "Tain" Watts - Drums
Todd Sebastian Williams - Clarinet, Sax (Soprano), Sax (Tenor)
Ben Wolfe - Bass

Drawing from previous Columbia albums that were originally released between 1983 and 1999, this compilation serves as a best of collection when it comes to jazz's traditional partnership with the romantic song. It's a love-fest. What's more, trumpeter Wynton Marsalis shares his passion for these fourteen chestnuts with his audience fluently, readily and sincerely.

Whether it's the open horn on "Embraceable You with piano trio or the muted Louis Armstrong tribute on "When It's Sleepy Time Down South, Marsalis lays it down accurately. He gets his point across. With strings, as on "Stardust, he's in ecstasy, just sitting back comfortably and letting the emotion flow.

The trumpeter has been criticized for several decades. That kind of discussion seems to follow fame like a lost dog on a country road. Just when you think it's gone, you see it again over your left shoulder. Marsalis never deserved most of the criticism that was shoveled his way. Not for his trumpet playing, that is. He remains one of the best there is. Technically brilliant, rich in tone, fluid in seamless transition and conservative in his approach to improvisation, he marks the center of what jazz is.

From the soundtrack to the enjoyable but sadly overlooked film Tune in Tomorrow (1990), Marsalis fronts his big band for "I Can't Get Started, with Shirley Horn singing in her inimitable manner.

From Hot House Flowers (Columbia, 1984), the trumpeter moves "Melancholia in dense harmonic patterns with large orchestra, creating an unforgettable impression.

From Citi Movement (Columbia, 1993), he opens up on "Spring Yaoundé with similar results. These two and several others are not standards per se, but Marsalis has cast them in the image with suitable impressions. He squeezes out each emotional tone as if they were old friends. Reminiscing on these timeless themes makes for an interesting start to the New Year. ---Jim Santella, allaboutjazz.com

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1 Party's Over (6:02) 
2 You're Blasé (6:36) 
3 After You've Gone (5:43) 
4 Glad To Be Unhappy (7:44) 
5 It Never Entered My Mind (6:04) 
6 Baby Won't You Please Come Home (5:25) 
7 Guess I'll Hang My Tears Out To Dry (5:55) 
8 I Got Lost In Her Arms (5:03) 
9 Ballad Of The Sad Young Men (5:47) 
10 Spring Will Be A Little Late This Year (4:27) 
11 My Man's Gone Now (4:32) 
12 Midnight Blues (11:53)

Personnel: 
Wynton Marsalis (trumpet);
Robert Freedman (conductor); 
Paul Peabody, Israel Chorberg, Krista Feeney, Richard Henrickson, Jean Ingraham, 
Ann Leathers, Nancy McAlhany, Ron Oakland, Susan Ornstein, Sandra Park, 
John Pintavalle, Matt Raidmondi, Laura J. Seaton, Lisa Steinberg (violin); 
Lamar Alsop, Julien Barber, Carol Landon, Sue Pray, Maxine Roach (viola); 
Richard Locker, Eric Friedlander, Eugene Moy (cello); 
Eric Reed (piano); 
Reginald Veal, John Beal, Lawrence Glazener, Paul Harris (bass); 
Lewis Nash (drums).

With pianist Eric Reed, bassist Reginald Veal, drummer Lewis Nash and a 42-piece string orchestra, trumpeter Wynton Marsalis has released a session of romantic standards, continuing the set of Standard Time volumes released earlier in his career. Bringing his trumpet's unique voice to the microphone, Marsalis combines his pure tone, squeezed notes, and a soulful vibrato with the sounds from strings and piano trio. The tunes are romantic standards with heartfelt lyrics; however, the expected emotional content is somewhat limited by the trumpeter's playfulness and tendency to hold back on long legato phrases. At times blase’ and at other times more enthusiastic, the trumpeter's lyrical lead lines move in and out of romance.

With muted trumpet on an extraordinarily slow version of "Baby, Won't You Please Come Home" Marsalis delivers the blues in wah-wah fashion with full support from all. It's the session's highlight, with warm, wet kisses being figuratively thrown about the room. The trumpeter changes textures several times, from mutes to wide open, and each time his message becomes more clear: "Baby, you come home to me now, `cause here's my heart on a platter, and it's all yours if you'll just come on home!"

Elsewhere, trumpetary playfulness and excessive flutters get in the way of romance. On "After You've Gone" and "I Guess I'll Hang My Tears Out to Dry" the lyric message seems wasted in trumpet tricks, minor growls, and buzz tones. Those very same features, however, return to fill "I Got Lost in Her Arms" with the excitement of a proud, lock-step pair of Tango dancers all dressed up for the occasion and in fine form. Marsalis cries through his horn on "My Man's Gone Now" with the application of flutter-tongued rolls, valve dips, and gentle squeezes. "The Midnight Blues," a somber Marsalis ballad, presents alternating moods of the nighttime: fear and anger contrast with soothing lullabies through ever-changing musical elements. Matching timbres with melody, harmony, and rhythm, the composer has created a piece that paints a night gallery of images real and imaginary.

Although the trumpeter's tone, technique, and intonation are above reproach, he's been criticized in the past for a lack of "soul," a lack of "fire," and the absence of unique identifying stylistic traits. Marsalis and Reed begin "Glad to be Unhappy" with added expression and a sensitive approach similar to that of trumpeter Ruby Braff, but the trumpeter quickly turns it over to playful asides that erode the expected picture. And yet these very attributes represent the unique character of the trumpeter, expressive and playful. There's something to love in almost everything Marsalis writes, but some areas lie in wait of future refinements. ---Jim Santella, allaboutjazz.com

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CD1:
01 – Express Crossing (Astride from Horses)
02 – ‘D’ in the Key of ‘F’ (Now the Blues)
03 – Jump
04 – Station Call
05 – The Caboose
06 – Church Renewing Vows
07 – Go, Possum, Go
08 – Jean-Louis is Everywhere
09 – For My Kids at the College of Marciac
10 – Sunflowers
11 – Hellbound Highball
12 – The Fiddler’s March
13 – Movement 1 Jubal Step
14 – Movement 12 I Am (Don’t You Run from Me) (Edit)

CD2:
01 – The Majesty of the Blues (The Puheeman Strut)
02 – The Dance
03 – Move Over (Edit)
04 – Double Rondo on the River (Pedro’s Getaway)
05 – Spring Yaounde
06 – Soul for Sale
07 – Altar Call
08 – In the Sweet Embrace of Life Sermon Holy Ghost
09 – The Death of Jazz
10 – Oh, But on the Third Day (Happy Feet Blues)

Sidemen

CD 1

#1-2
Wynton Marsalis/Marcus Printup – trumpets
Wycliffe Gordon/Ron Westray – trombones
Todd Williams – tenor/soprano, clarinet
Wessell Anderson – alto/soprano saxophones
Victor Goines – baritone saxophone, bass clarinet
Kent Jordan – piccolo, flute
Eric Reed – piano
Reginald Veal – bass
Herlin Riley – drums
Robert Sadin – conductor

#3
Wynton Marsalis – conductor
Harry ‘Sweets’ Edison – trumpet solo
Ryan Kisor/Marcus Printup – trumpets
Wessell Anderson – alto/soprano saxophones
Victor Goines – tenor/soprano saxophones, clarinet
Ted Nash – tenor/soprano saxophones
Gideon Feldstein – baritone saxophone, bass clarinet
Wycliffe Gordon/Ron Westray – trombones
Kent Jordan – piccolo, flute
Eric Reed – piano
Ben Wolfe – bass
Herlin Riley – drums

#4-5
Wynton Marsalis – trumpet
Farid Barron – piano
Rodney Whitaker – bass
Herlin Riley – drums
Roland Guerrero – percussion
Doug Wamble – guitar, banjo
Jazz at Lincoln Center Orchestra

#6
Wynton Marsalis – trumpet, conductor
Lincoln Center Jazz Orchestra

#7
Mark O’ Connor – mandolin, violin
Mark Schatz – bass, banjo

#8-9
Wynton Marsalis – trumpet
Wessell Anderson – alto saxophone
Victor Goines – tenor/soprano saxophones, bass clarinet
Wycliffe Gordon – trombone
Eric Lewis/Marthaniel Roberts – pianos
Rodney Whitaker – bass
Herlin Riley – drums

#11
Oriano String Quartet
Daniel Phillip/Todd Phillips – violin
Steven Tenenbom – viola
Timothy Eddy – cello

#12
Wynton Marsalis – trumpet
Chamber Music Society of Lincolin Center
David Shifrin – clarinet
Milan Turkovic – basson
David Taylor – trombone
Ida Kavafian – violin
Edgar Meyer – bass
Stefon Harris – percussion

#13-14
Wynton Marsalis – trumpet
Lincoln Center Jazz Orchestra
The Paul Smith Singers
The Northridge Singers of California State University at Northridge
Morgan State University Choir
Esa-Pekka Salonen – conductor

CD 2

#1
Wynton Marsalis – trumpet
Marcus Roberts – piano
Todd Williams – tenor/soprano saxophones
Wessell Anderson – alto saxophone
Reginald Veal – bass
Herlin Riley – drums

#2
Wynton Marsalis – conductor
Ryan Kisor/Marcus Printup – trumpets
Wessell Anderson – alto/soprano saxophones
Victor Goines – tenor/soprano saxophones, clarinet
Ted Nash – tenor/soprano saxophones
Gideon Feldstein – baritone saxophone, bass clarinet
Wycliffe Gordon/Ron Westray – trombones
Kent Jordan – piccolo, flute
Eric Reed – piano
Ben Wolfe – bass
Herlin Riley – drums

#3
Cassandra Wilson – vocals
Wessell Anderson – alto saxophone
Victor Goines – e-flat clarinet

#4
Wynton Marsalis – trumpet
Marcus Roberts – piano
Wessell Anderson – alto saxophone
Herbert Harris/Todd Williams – tenor saxophones
Joe Temperley – baritone saxophone
Alvin Batiste/Dr. Michael/Todd Williams – clarinet
Wycliffe Gordon – trombone
Reginald Veal – bass
Herlin Riley – drums

#5
Wynton Marsalis – trumpet
Todd Williams – tenor/soprano saxophones
Wessell Anderson – alto saxophone
Wycliffe Gordon – trombone
Reginald Veal – bass
Herlin Riley – drums

#6
Jon Hendricks – vocals
Wynton Marsalis – trumpet, conductor
Wessell Anderson – alto saxophone
James Carter – baritone saxophone, bass clarinet, clarinet
Victor Goines – tenor/soprano saxophones, clarinet, bass clarinet
Robert Stewart – tenor saxophone
Russell Gunn/Roger Ingran/Marcus Printup – trumpets
Wayne Goodman/Ron Westray – trombones
Michael Ward – violin
Wycliffe Gordon – tromobne, tuba
Eric Reed – piano
Reginald Veal – bass
Herlin Riley – drums

#7-8
Marion Williams – vocals
Wynton Marsalis – trumpet
Wessell Anderson – alto saxophone
Wycliffe Gordon – tromobne
Todd Williams – tenor/soprano saxophones
Reginald Veal – bass
Herlin Riley – drums

#9-10
Wynton Marsalis – trumpet 2nd, trumpet, mute
Marcus Roberts – piano
Todd Williams – tenor/soprano saxophones
Wessell Anderson – alto saxophone
Dr. Michael White – clarinet
Danny Barker – banjo
Teddy Riley – 1st trumpet
Freddie Lonzo – trombone
Reginald Veal – bass
Herlin Riley – drums

Wynton Marsalis brings you this self-curated collection for The Music of America series. This 2-CD set blends the diverse musical languages that personify this unique American artist and composer. The compositions are performed by a diverse group of musicians including the Los Angeles Philharmonic Orchestra, the Orion String Quartet, musicians from the Chamber Music Society of Lincoln Center, and members of The Lincoln Center Jazz Orchestra in various configurations. Speaking through the voice of a bluesman, parishioner, sophisticate, slave, griotor philosopher, Marsalis bring an eye of a musical historian as he takes us through a musical journey of some of his most outstanding works. This collection truly personifies Marsalis as the formidable trumpet player, the world-class composer and an extraordinary contributor to The Music of America. --- wyntonmarsalis.org

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01 – I Hear A Knockin’ (Solo)
02 – All Rise XII I Am (Don’t You Run From Me)
03 – If I Hold On
04 – Processional
05 – Psalm 26
06 – Awakening
07 – Hymn
08 – Precious Lord, Take My Hand (Previously Unreleased)
09 – In The Sweet Embrace Of Life Sermon Holy Ghost
10 – Flee As A Bird To The Mountain
11 – Sing On
12 – Benediction
13 – Oh We Have A Friend In Jesus
14 – To Higher Ground
15 – Pot Blessed Dinner

Musicians:
Wynton Marsalis – trumpet, conductor
Wessell Anderson - sax (alto)
Wessell "Warmdaddy" Anderson - clarinet, sax (alto)
Oscar Brashear 	- trumpet
Shirley Caesar - vocals
Nathan Carter - Choir Director
Kimati Dinizulu - percussion
Gideon Feldstein - clarinet (bass), sax (baritone)
Bob Findley - trumpet
Vincent Gardner - trombone
Victor Goines - clarinet, clarinet (bass), sax (soprano), sax (tenor)
Wycliffe Gordon - trombone, tuba
Russell Gunn - trumpet
Cynthia Hardy 	Soloist, Vocals
Stefon Harris - marimba, percussion, vibraphone
Carlito Henriquez - bass
Roger Ingram - trumpet
Sherman Irby - clarinet, sax (alto)
Eric Lewis - piano
Lincoln Center Jazz Orchestra 	
Los Angeles Philharmonic Orchestra 	
Russell Malone 	- guitar
Delfeayo Marsalis - trombone
Jason Marsalis - drums
Morgan State University Choir 	
Ted Nash - flute, sax (alto), sax (soprano)
The Northridge Singers of California State University At Northbridge 	
The Paul Smith Singers 	
Marcus Printup - trumpet
Eric Reed - piano
Bill Reichenbach - trombone
Herlin Riley - drums, tambourine
Stephen Riley - sax (tenor)
Marcus Roberts - piano
Esa-Pekka Salonen - conductor
Jaz Sawyer - drums
Jamil Sharif - trumpet
Byron J. Smith - Choir Conductor
Paul Smith - Choir Director
Don Vappie - banjo
Reginald Veal - bass, trombone
Ron Westray - trombone
Michael White - clarinet
Marion Williams - vocals
Todd Williams - sax (soprano), sax (tenor)
Cassandra Wilson - vocals

As a New Orleans native, trumpeter/composer Wynton Marsalis has long incorporated a wide array of spiritual music into his own straight-ahead jazz. Even his earliest recordings, such as Black Codes (From the Underground) and The Majesty of the Blues, evinced the influence of gospel music, religious hymns, and New Orleans funeral processionals. Though raised in the Catholic church, Marsalis' professed take on religion has always been a holistic invocation of God, a sense of spirituality that connects all human beings -- at least as far as his music and liner notes have revealed. Inspired by the social activism of Martin Luther King, Jr., and directly influenced by the spiritually and socially conscious jazz of John Coltrane (A Love Supreme) and Duke Ellington (Sacred Concerts), Marsalis began writing his own explicitly spiritual-themed compositions beginning with 1994's In This House, On This Morning. The 2013 compilation The Spiritual Side of Wynton Marsalis brings together tracks off that album, as well as other divinely themed tracks Marsalis recorded during the '90s and 2000s. Formatted to evoke the rhythms and flow of a New Orleans funeral function, the compilation works as a soulful overview of this vital side of Marsalis' career. Included here are both small and large ensemble recordings from such albums as 1997's Pulitzer Prize-winning Blood on the Fields, 1999's Reeltime, 2002's All Rise, and more. ---Matt Collar, Rovi

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