Branford Marsalis Random Abstract 1987 download zip - Random Abstract (1988), 320 Kbps. Artist : Branford Marsalis Title : Random Abstract Year Of Release : 28 Jun 1988 Label : Columbia Genre : , Post Bop Quality : MP3, 320 Kbps Total Time : 01:14:08 Total Size : 168 MB WebSite : Album Preview. 01. Yes And No 02. Crescent City 03. Broadway Fools 04. LonJellis 05. I Thought About You 06. Lonely Woman 07. Steep's Theme 08. Yesterday's 09. Crepuscule With Nellie. Branford Marsalis (saxophone) (piano) Delbert Felix (acoustic bass) Random Abstract. Branford Marsalis (on tenor and soprano) and his 1987 quartet (which also includes pianist Kenny Kirkland, bassist Delbert Felix and drummer Lewis Nash) stretch out on a wide repertoire during this generally fascinating set. Very much a chameleon for the date, Marsalis does close impressions of Wayne Shorter on "Yes and No," John Coltrane ("Crescent City"), Ben Webster (a warm version of "I Thought About You"), Ornette Coleman ("Broadway Falls") and even Jan Garbarek (on a long rendition of Coleman's "Lonely Woman"). Random Abstract also includes a jam on Kirkland's "LonJellis," a piece without chord changes. This is one of Branford Marsalis' most interesting (and somewhat unusual) recordings. AllMusic Album Review. Since the mid-'80s, Branford Marsalis has led various incarnations of his quartet, issuing a bevy of highly inventive and playful like Random Abstract , Crazy People Music, and , all of which showcase his love of swinging acoustic jazz and dynamic group interplay. 2019's The Secret Between the Shadow and the Soul is no exception and finds the saxophonist balancing an expressive maturity with a continued sense of fun. Following up 2012's Four MFs Playin' Tunes , as well their 2016 Kurt Elling collaboration Upward Spiral , this iteration of the quartet features pianist , bassist , and drummer Justin Faulkner (who replaced Jeff "Tain" Watts in 2009). Together, they play with a deft abandon that often borders on focused chaos. The best example of this here is the Revis-penned "Dance of the Evil Toys," a kinetic snowplow of free group improv that brings to mind Ornette Coleman. Interestingly, most of the other extroverted moments are cover songs. Marsalis dives into Keith Jarrett's "The Windup," accenting the pianist's already exuberant song with a roiling second line-meets-gospel groove that sounds like Dave Brubeck on thick caffeine. Similarly, they tackle Andrew Hill's "Snake Hip Waltz," playing gleefully within the track's off-kilter, 3/4 buoyancy and bluesy, Parisian sophistication. While post-bop dynamism is certainly one of Marsalis' fortes, he's also a deeply emotive and lyrical performer, something that colors much of his work here. "Conversation Among the Ruins" is a deeply elegiac ballad by Calderazzo that's rife with classical intonations and ends in double time swing. Marsalis even pays tribute to his late mother, Dolores Marsalis, who passed away in 2017, dedicating his song "Life Filtering from the Water Flowers" to her. It starts out as a ruminative tone poem as Marsalis' sax emerges from a silent fog, only to be joined by his bandmates in a spiral of joyful purpose. Equally mutative is Revis' "Nilaste," a harmonically nuanced minor noir in which the band investigate the song's dark shadows before exploding into the light. It's that dynamic balance, so organic to Marsalis' group, that illuminates all of The Secret Between the Shadow and the Soul . Random Abstract. Branford Marsalis, writes his younger brother (and three-time producer) Delfeayo, "is the first soloist (to my knowledge) whose contributions to music openly display the multifarious qualities of all major saxophone stylists in the jazz idiom, in addition to his own. While most hornmen his age search frantically for the autonomous voice on the jazz world, Marsalis has first chosen to understand in full the logic, inventiveness and personalities of his predecessors, thus greatly enhancing his creative awareness." But as far and wide as Branford's musical and film forays have taken him, jazz is the core, home base. The extent of his commitment to the idiom reaches transcendental heights on the soaring, sweeping, swooping and altogether triumphant 16-minute version of Ornette Coleman's "Lonely Woman" on RANDOM ABSTRACT, Branford fourth LP for Columbia Records. The album, says Branford, is "the first one that documents my quartet conception - with one band. I used different sidemen on other records to capture the mood and groove of each tune. Thanks to Delbert and Lewis I didn't have to resort to that on this record." Recorded after the quartet had been on the road together for a few months, the album shows off the mastery of pianist Kenny Kirkland, bassist Delbert Felix, and drummer Lewis Nash on Branford's most challenging set ever. The program acknowledges jazz masters past and present. Wayne Shorter's "Yes And No" opens side one, recapping the heyday of the Blue Note label; Branford's "Crescent City" (New Orleans, for the uninitiated) evokes early '60's Coltrane; and another original, "Broadway Fools" is "a stunning caption of an E-flat blues in the style of Ornette Coleman." Kenny's "LonJellis" opens side two, a free-form tribute to the man who first put the music onto Branford, his father/mentor/educator Ellis Marsalis; the standard "I Thought About You" bids farewell to Branford's emulation of Ben Webster, once and for all; and "Steep's Theme" closes the album, "a Wynton Marsalis statement, the person whom Steep [Branford] heralds as not only being responsible for him playing music, but also for the renaissance of, performance of, and acceptance of acoustic jazz in the 80's." "I'm confident of my ability," he told Kevin Whitehead in the down beat issue of March '87 that featured him on the cover, "but I'm not ready to break new ground right now; I still want to do classical and pop records. But it's no lie, I won't play anything for money. When you do it for money, you have to kiss too much ass. Man, if I did it for money, would I say half the things I say?" "One major problem that must be resolved by the present generation of jazz artists," states Delfeayo, "is the horrific misconception that a dazzling technical display is more important than the actual musical statement. with RANDOM ABSTRACT, Marsalis (aided by top-rank comrades) has chosen to load his weapons and stage war against these beliefs." "RANDOM ABSTRACT," concludes Delfeayo, "I need not say more." Branford Marsalis Discography - session index. Copyright (c) 2001-2003 Group TGS. Copyright (c) 2003-2021 Jazz Discography Project. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled "GNU Free Documentation License".