Live at the House of Tribes [Live]

Tracks:

Green Chimneys
Just Friends
You Don't Know What Love Is
Donna Lee
What Is This Thing Called Love
2nd Line

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Wynton Marsalis headlines this lively, Night of the Cookers-type gig, recorded in Manhattan in 2002. Joining him on the frontline is his long-time partner, alto saxophonist Wessell "Warmdaddy" Anderson, backed by a rhythm section featuring bassist Kengo Nakarmura, drummers Robert Rucker and Joe Farnsworth, and pianist, Eric Lewis. The material is what you would expect on informal set like this: A riffing romp through Thelonious Monk's "Green Chimney's," two bouncy renditions of "Just Friends," and "What is This Thing Called Love," the enduring ballad, "You Don't Know What Love Is," Charlie Parker's "Donna Lee," delivered at bop-speed, and Paul Barbarin's Crescent City chaser, "2nd Line." Add percussionist Orlando Q. Rodriguez's Latin tinges and brother Delfeayo's on-point production to Marsalis's flawless flights, and you have a document that captures improvisation in the heat of performance, forged by the sacred give-and-take between the artist and the audience. --Eugene Holley, Jr.

Recommended Wynton Marsalis Discography

Black Codes (From the Underground)
Standard Time, Vol. 6: Mr. Jelly Lord
Citi Movement

Customer Reviews:

Gives the impression of feeling but does not evoke much.......2007-04-05

Perhaps a prime example of how a well primed audience (alcohol, etc) can drive the performers of the music into simple areas of loudness, virtuosity for its own sake, and thumpy rhythms. But in the peace of one's home it just does not come off that well. Music being the thing, I have to say the clunky rhythms and unfeeling playing leaves me indifferent. Not a worthwhile investment.

Wynton at his absolute best.......2006-12-22

Jazz critics have been hard on Wynton Marsalis because of his analytical style. If you are familiar with his work I think you can hear what the critics were talking about but I never thought they gave him enough credit for his incredible technique and creativity. On this recording he has created something special and the tired old criticism of his over-analytical style will be put to rest. The venue is intimate and the crowd response adds to the enjoyment of the listening experience. The sound quality is excellent and his ensemble is first-rate. Wynton comes alive in this recording and his improvisation is fresh, exciting and revealing. Wynton has a love for jazz that shines through in this live set. I personally feel it is one of the best jazz albums of the year and should be included in any jazz collection.

Audience ruins it.......2006-02-26

First, let me say that I've followed Wynton for a long time. I first saw him at the Kool Jazz Festival in Philadelphia in 1982 where he got into a cutting contest with Freddie Hubbard, and they blew the roof off the Academy of Music. "Sister Cheryl" from his first album is one of my all time favorite songs. "Hot House Flowers" was the very first audio CD I ever bought when I transitioned from vinyl LPs. And I consider his version of "You Don't Know What Love Is" on Marsalis Standard Time Vol 2 absolutely transcendent.

All that said, I've just listened to "Live at the House of Tribes" for the third time and am fairly certain that I'll never listen to it again. The music isn't bad, but the audience just ruins it for me. It's like sitting next to a table of drunks who won't shut up. Whoever said "this is not posers hooting to get their hipness on record" either doesn't get out much or is far more tolerant than I am.

Another museum piece from Marsalis.......2006-02-16

Marsalis turned his attention to classical music, a critic noted, after "getting his ass kicked every night in Art Blakey's band". He's a very good classical trumpet player- though not of the first rank- and his reputation in both jazz and classical worlds seems to be in large part built on the the novelty of crossing over. His status in non-Jazz circles was established by Ken Burns' documentary, which made him out to me the New Hope of Jazz, and led to his leaving his mark at Lincoln Center, where they don't know much about jazz either.

Marsalis approaches jazz the same way he approaches classical music, which is to say as a museum piece to be dusted off and played none-for-note perfect, devoid of any real fire or imagination. You'll never hear a trumpet player described as playing "in the style of Wynton Marsalis" the way someone might be described as playing "like Miles" because there's simply nothing worth copying in Marsalis' playing.

This album, like all Marsalis albums, consists of very restrained, very controlled playing. There isn't an original lick on it. I suppose it makes great background music, but who wants to pay for that? If you want to hear a really great jazz combo led by a trumpet player, buy ANY album of Miles, Bix, Jimmy McPartland, Bobby Hackett, Clifford Brown, Chet Baker... the list goes on. And you won't find Wynton's name on it.

Tasty.......2006-02-01

This is a good time. Marsalis' playing here is very nice, very confident, full of fun and clearly reveling in the exuberance of the audience. I'm a fan of live jazz recordings that capture a moment in time and give you a sense of the place and the atmosphere of the place. Live At The House of Tribes is successful on both counts. Enjoy.

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