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, All Music Guide
Ever since his rise to fame in 1980, trumpeter Wynton Marsalis has been one of the most renowned musicians in jazz. In recent times he has primarily been heard at the head of the Lincoln Center Jazz Orchestra but arguably the finest setting for his playing talents was with the septet that he led in the 1990s.
This magnificent seven-CD set features the Marsalis group over a five-year period performing at New York's legendary Village Vanguard. The trumpeter is joined by trombonist Wycliffe Gordon, altoist Wessell Anderson, Todd Williams or Victor Goines on tenor, Marcus Roberts or Eric Reed on piano, Reginald Veal or Ben Wolfe on bass and drummer Herlin Riley. Marsalis performs a wide-ranging program full of standards (including a blazing opening version of "Cherokee," "Embraceable You" and "Stardust") and quite a few of his colorful originals including "Black Codes From the Underground," "Sometimes it Goes Like This," "Knozz-moe-king," "In the Court of King Oliver," "Swing Down Swing Time" and "Citi Movement." The music ranges from New Orleans jazz and hard bop to more explorative sounds, with Wynton and his sidemen heard throughout in inspired form.
Any question why Wynton Marsalis is considered one of the present-day giants of jazz? This special set gives plenty of evidence why he is held in such high regard.
—Scott Yanow
"This period when we were playing the Vanguard was the best time I ever had in my life." —Wynton Marsalis, 1999
Welcome (#1-7); Cherokee; The Egyptian Blues; Embraceable You; Black Codes From the Underground; Harriet Tubman; Monk’s Mood; And the Band Played On; The Cat in the Hat is Back; Uptown Ruler; Down Home With Homey; Reflections; Jig’s Jig; Sometimes it Goes Like That; In a Sentimental Mood; Knozz-moe-king; Buggy Ride; I’ll Remember April; Stardust; In the Court of King Oliver; Bona & Paul; Four in One; Way Back Blues; Rubber Bottom; Midnight in Paris; Play The Blues and Go; Pedro’s Getaway; Evidence; Embraceable You; A Long Way; The Arrival; Misterioso; Happy Birthday; The Seductress; The Majesty of the Blues; Flee as a Bird to the Mountain; Happy Feet Blues; Thelonius; Stardust; Intro to Buddy Bolden; Buddy Bolden; Swing Down Swing Town; Bright Mississippi; Citi Movement; Winter Wonderland; Brother Veal; Cherokee; Juba and a O’Brown Squaw; In the Sweet Embrace of Life; Local Announcements; Altar Call; Final Statement.
Wynton Marsalis, Trumpet; Wessell Anderson, Alto Sax; Todd Williams, Tenor Sax, Clarinet; Wycliffe Gordon, Trombone; Marcus Roberts, Eric Reed, Pianos; Reginald Veal, Ben Wolfe, Basses; Herlin Riley, Drums; Victor Goines, Tenor & Soprano Saxes, Clarinet.
| Album Credits | |
Performance Credits |
|
| Ben Wolfe | Bass |
| Eric Reed | Piano |
| Herlin Riley | Drums |
| Marcus Roberts | Piano |
| Reginald Veal | Bass |
| Victor Goines | Clarinet |
| Wycliffe Gordon | Trombone |
| Wynton Marsalis | Trumpet |
Technical Credits |
|
| Band 1 | Performer |
| Band 3 | Performer |
| David Ellis | Art Direction |
| Delfeayo Marsalis | Editing |
| Dennis Jeter | Production Coordination |
| Erwin Gorostiza | Art Direction |
| Frank Stewart | Photography |
| Mark Wilder | Engineer |
| Patrick Smith | Mixing |
| Steven Epstein | Producer |
| The Band | Performer |
| Tim Geelan | Engineer |
| Todd Whitelock | Mixing Engineer |