Wynton Marsalis was born on October 18, 1961 in New Orleans, Louisiana, to Delores and Ellis Marsalis, a music teacher. He is the second of six sons, one of whom is autistic. His father was a permanent fixture on the New Orleans jazz scene, and several of Wynton’s brothers are also musicians, notably saxophonist, Branford, who is as well known as Wynton among jazz afficianados. Wynton was drawn to music at an early age and when he was eight performed traditional New Orleans music at the Fairview Baptist Church in a band led by banjoist, Danny Barker. At the age of 14, he was invited to perform at the New Orleans Philharmonic, and he belonged to several bands while enrolled in high school. On weekends he performed in a jazz band as well as a popular funk band known as the “Creators.”
In 1978, when he was only seventeen, Wynton became the youngest musician ever to be admitted to Tanglewood’s Berkshire Music Center. Soon after, he moved to New York City to attend the Juilliard School of Music. Two years later he joined the Jazz Messengers to study under bandleader, Art Blakey. He learned much about his craft from this master and it earned him invitations to perform with the cream of the jazz world elite, including Sarah Vaughan and Dizzy Gillespie. Eventually, he formed his own band and for ten consecutive years performed over 120 concerts every year. Marsalis rekindled a widespread interest in jazz, revitalizing the art form with his own individual stamp and creative energy.
Wynton is a man of many talents and he is also an accomplished composer. He received commissions to create major compositions for the American Ballet Theater and the Alvin Ailey American Dance Theater. In 1997, he became the first jazz musician to win the Pulitzer Prize in music for his work, “Blood on the Fields”, an epic on the subject of slavery. He has toured more than thirty countries on six continents and his recordings have sold more than 5 million copies.
His vehement perceptions regarding the roots of jazz have caused some controversy from both jazz critics and fellow musicians. He has been accused of having “selective knowledge” of jazz history and thus of stifling growth and preventing further innovation.
Still, his work is wonderful and worthy of the critical acclaim it has always received. His contribution to the world of music is enormous and he continues to be one of the finest trumpeters the world of jazz has ever seen.
What are some of YOUR favorite Wynton Marsalis recordings? Please share.
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