mfs@mhuxr.UUCP (Damballah Wedo) (10/12/85)
Wynton has been open to criticism that he is nothing but a monster
soloist, that he has yet to make an imprint on the music. Until now.
BLACK CODES FROM THE UNDERGROUND establishes that Wynton is a major
jazz composer as well as soloist. The LP is bold, imaginative and
purposeful. We know by now that Marsalis has superb chops, so he no
longer has need to put them on display every solo. This gives him
space to really say something and develop the dark lyricism,
reminiscent of Fats Navarro, that is so striking about his tone.
The compositions are elliptical in a 60s Wayne Shorter sort ot way
(indeed Shorter castsa giant shadow over this whole album, because
he has had a strong influence on saxist Branford Marsalis's tone as well)
seemingly incomplete, giving a soloist many different avenues to
explore and complete. So a given performance is only one such avenue,
guarantee-ing that the tune will remain fresh through may playings.
The title tune is built on a turbulent 8/8 that settles into 4/4 on
the bridge, which in turn is the basis for improvisation. The soloists
are free to evoke the other signature, which Branford does several times.
"Delfeayo's Dilemma" uses a similar device to good effect. That tune
features pianist Kenny Kirkland. Those who have only heard Kirland play
a few phrases on Sting's album should leap at the opportunity to hear
this man stretch out (the same applies to Branford; see also his solo
album, SCENES IN THE CITY) for he is a gifted player, with a powerful left
hand balanced by s soft touch, and a lyrical right.
Drummer Jeff "Tain" Watts is superb throughout, laying out complementary
rhythmic lines that surge over each other like a river. His play on the
difficult "Black Codes" is an example. Lesser drummers would wander
in and out, leaving the listener wondering where the beat went.
Watts not only remains on top of things, but swings forcefully, taking
Wynton to ecstatic heights. His playing on the fiery "Chambers of Tain"
should be sufficient to convince anyone that this man is one of the very
best.
Bassist Charnett Moffett is only 18, but you can't tell from his playing,
which is supremely self-assured. See his duet with Wynton on the "Blues"
that ends the LP (not stated on the cover.) It's no wonder really, he
is the son of ex-Ornette Coleman drummer Charles Moffett.
BLACK CODES is an impressive next step in the continuing development
of Wynton Marsalis into the major jazz voice of the eighties. Up to now,
he has remained stuck into the post-bop rut, while people like David
Murray were exploring brand new avenues. With this album, Wynton shows
he is unafraid to cultivate new territory.
--
Marcel-Franck Simon ihnp4!{mhuxr, hl3b5b}!mfs
" Papa Loko, ou se' van, ou-a pouse'-n alle'
Nou se' papiyon, n-a pote' nouvel bay Agwe' "