The Marsalis family and the democratic imperative in jazz

Race and Class

Volumn 43, Issue 1, 2001, Pages 1-28

  Ellison, Mary ^a  

^a KEELE UNIVERSITY   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0035534122     PISSN: 03063968     EISSN: None     Source Type: Journal    
DOI: 10.1177/0306396801431001     Document Type: Review

References (107)

1. Branford Marsalis interviewed by the author on 8 August 1998 in Brecon; Delfeayo Marsalis interviewed by the author on 8 August 1995 in New Orleans; Wynton Marsalis interviewed by the author on 1 June 1993 in Manchester.
2. Ortis Walton, Music: Black, White and Blue. A sociological survey of the use and misuse of Afro-American music (New York, Morrow, 1972), p. 166.
3. See Theodor Adorno, 'On jazz', Discourse (Vol. 12, no. 1, 1989-90), pp. 48-9; Theodor Adorno, 'Perennial fashion - jazz', Prisms (Cambridge, MA, MIT Press, 1981[1953]), pp. 122-3; Evelyn Wilcock, 'Adorno, jazz and racism: uber jazz and the 1934-7 British jazz debate', Telos (no. 107, 1997), pp. 63-80.
4. See Theodor Adorno, 'On jazz', Discourse (Vol. 12, no. 1, 1989-90), pp. 48-9; Theodor Adorno, 'Perennial fashion - jazz', Prisms (Cambridge, MA, MIT Press, 1981[1953]), pp. 122-3; Evelyn Wilcock, 'Adorno, jazz and racism: uber jazz and the 1934-7 British jazz debate', Telos (no. 107, 1997), pp. 63-80.
5. See Theodor Adorno, 'On jazz', Discourse (Vol. 12, no. 1, 1989-90), pp. 48-9; Theodor Adorno, 'Perennial fashion - jazz', Prisms (Cambridge, MA, MIT Press, 1981[1953]), pp. 122-3; Evelyn Wilcock, 'Adorno, jazz and racism: uber jazz and the 1934-7 British jazz debate', Telos (no. 107, 1997), pp. 63-80.
6. Wynton Marsalis interviewed by the author on 5 February 2001; Delfeayo Marsalis interviewed by the author on 8 August 1995.
7. See, for example, Andrew Kaslow, E. Cozier, A. Muhammad, 'Jazz: sounds of survival', Sing Out! (Vol. 24, no. 6, 1976), pp 24-5; Andy Hamilton, 'The aesthetics of imperfection', Philosophy (no. 65, 1990), p. 339; Amiri Baraka (Leroi Jones), Blues People (New York, William Morrow, 1963), pp. 230-1; Scott DeVeaux, 'Constructing the jazz tradition: jazz historiography', Black American Literature Forum (Vol. 25, no. 3, 1991), p. 526; Christopher Small, Music of the Common Tongue (London, John Calder, 1987), pp. 468-9.
8. See, for example, Andrew Kaslow, E. Cozier, A. Muhammad, 'Jazz: sounds of survival', Sing Out! (Vol. 24, no. 6, 1976), pp 24-5; Andy Hamilton, 'The aesthetics of imperfection', Philosophy (no. 65, 1990), p. 339; Amiri Baraka (Leroi Jones), Blues People (New York, William Morrow, 1963), pp. 230-1; Scott DeVeaux, 'Constructing the jazz tradition: jazz historiography', Black American Literature Forum (Vol. 25, no. 3, 1991), p. 526; Christopher Small, Music of the Common Tongue (London, John Calder, 1987), pp. 468-9.
9. See, for example, Andrew Kaslow, E. Cozier, A. Muhammad, 'Jazz: sounds of survival', Sing Out! (Vol. 24, no. 6, 1976), pp 24-5; Andy Hamilton, 'The aesthetics of imperfection', Philosophy (no. 65, 1990), p. 339; Amiri Baraka (Leroi Jones), Blues People (New York, William Morrow, 1963), pp. 230-1; Scott DeVeaux, 'Constructing the jazz tradition: jazz historiography', Black American Literature Forum (Vol. 25, no. 3, 1991), p. 526; Christopher Small, Music of the Common Tongue (London, John Calder, 1987), pp. 468-9.
10. See, for example, Andrew Kaslow, E. Cozier, A. Muhammad, 'Jazz: sounds of survival', Sing Out! (Vol. 24, no. 6, 1976), pp 24-5; Andy Hamilton, 'The aesthetics of imperfection', Philosophy (no. 65, 1990), p. 339; Amiri Baraka (Leroi Jones), Blues People (New York, William Morrow, 1963), pp. 230-1; Scott DeVeaux, 'Constructing the jazz tradition: jazz historiography', Black American Literature Forum (Vol. 25, no. 3, 1991), p. 526; Christopher Small, Music of the Common Tongue (London, John Calder, 1987), pp. 468-9.
11. See, for example, Andrew Kaslow, E. Cozier, A. Muhammad, 'Jazz: sounds of survival', Sing Out! (Vol. 24, no. 6, 1976), pp 24-5; Andy Hamilton, 'The aesthetics of imperfection', Philosophy (no. 65, 1990), p. 339; Amiri Baraka (Leroi Jones), Blues People (New York, William Morrow, 1963), pp. 230-1; Scott DeVeaux, 'Constructing the jazz tradition: jazz historiography', Black American Literature Forum (Vol. 25, no. 3, 1991), p. 526; Christopher Small, Music of the Common Tongue (London, John Calder, 1987), pp. 468-9.
12. Wynton Marsalis, 'Why we must preserve our jazz heritage', Ebony (February 1986), pp. 131-6; see also Wynton Marsalis, Sweet Swing Blues On the Road (New York, Norton, 1994), p. 57.
13. Wynton Marsalis, 'Why we must preserve our jazz heritage', Ebony (February 1986), pp. 131-6; see also Wynton Marsalis, Sweet Swing Blues On the Road (New York, Norton, 1994), p. 57.
14. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
15. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
16. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
17. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
18. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
19. Wynton Marsalis and the Lincoln Center Jazz Orchestra, Blood on the Fields (New York, Columbia, 1997, CXK 57694). A review by Willard Jenkins in Jazz Times (September 1997, p. 71) spoke highly of the magnificent live performances at Lincoln Center and on an extensive national and international tour, but claimed that 'this recording will stand as a lasting testament and be what future jazz observers utilize as the true measuring stick of its heroic importance in the jazz continuum'. James Lincoln Collier has produced an idiosyncratically biased history of jazz, Jazz: the American theme song (New York, Oxford University Press, 1993) in which he is dismissive of Wynton's talent (pp. 221, 226) and Branford Marsalis is misspelt as Brandon in the index and does not appear in the text at all. His 'Classical jazz' debate with Wynton at Lincoln Center on 7 August 1994 was marked by his defence of his crass passion vs pretension statement in terms that have been called 'embarrassingly crude as an aesthetic distinction' by Paul A. Anderson ('Ellington, rap, and cultural difference', Musical Quarterly (Vol. 79, no. 2, 1995), p. 203). See also the anonymous but trenchant account 'Jazz debate at Lincoln Center: a report'. The Sonneck Society Bulletin (Vol. 21, no. 1, 1995), pp. 10-11; Krin Gabbard, 'The jazz canon and its consequences', in Krin Gabbard (ed.) Jazz Among the Discources (Durham, NC and London, Duke University Press, 1995), p. 22.
20. Aaron Copland interviewed by the author on 19 October 1976 at Keele University; Roger Dickerson interviewed by Tom Dent on 23 October 1983 in New Orleans (Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans).
21. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
22. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
23. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
24. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
25. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
26. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
27. Alphonse Picou interviewed by William Russell for the William Ransom Hogan Jazz Oral History Project at Tulane University (transcript and tape) pp. 2-50; Donald M. Marquis, In Search of Buddy Bolden, First Man of Jazz (New York, Da Capo, 1978), pp. 2, 36, 57, 79, 83, 96, 102-3, 116, 137-9; Al Rose and Edmond Souchon, New Orleans Jazz: a family album (Baton Rouge, Louisiana State University Press, 1984), pp. 100-1, 106-7, 344; Sidney Bechet, Treat it Gentle (New York, Hill & Wang, 1960), p. 50; Amiri Baraka, The Music: reflections on jazz and blues (New York, William Morrow, 1987), p. 263; Kalamu Ya Salaam interviewed by Mary Ellison in New Orleans on 3, 6, 8 August 1995 and 25 April 2000; see also, Kalamu Ya Salaam, What is Life? Reclaiming the Black blues self (Chicago, IL, Third World Press, 1994).
28. Ellis Marsalis interviewed by the author on 16 December 1990 in Manchester and on 5 August 1995 in New Orleans.
29. Harold Battiste interviewed by Mary Ellison on 5 August in New Orleans;
30. John Broven, 'All for One', Blues Unlimited (no. 146, 1984), pp. 4-15;
31. Paul Lenz, 'Harold Batiste has his say', Dixie (15 August 1976), p. 2;
32. Harold Battiste, HALWHO, HALWHO, HALWHO? Selections from the scriptures of Harold who? (Los Angeles, At Last Publishing, 1989), pp. 1-7;
33. Sidney Miller, 'Harold Battiste, total musician', Black Radio (Vol. 1, no. 8, 15 November 1976), pp. 6-8;
34. Proceedings of the Preservation of Jazz Advisory Commission, New Orleans (28 August 1991), p. 78 and
35. (3 April 1992), pp. 110-19, 36;
36. Dion Norman, 'Jazz great H. Battiste: why aren't we economically involved?', Louisiana Weekly (Vol. LXVIII, no. 48, 20 August 1994), p. A5;
37. Kalamu Ya Salaam, 'All for One', New Orleans Tribune (August 1987), p. 43;
38. American Jazz Quintet, In the Beginning (AFO Classic 91-1028-2, 1991).
39. D. Antoinette D. Handy, Jazz Man's Journey: a biography of Ellis Louis Marsalis Jr. (Lanham, MD, Scarecrow Press, 1999), pp. 64-5.
40. Ellis Marsalis interviewed by the author on 5 August 1995 in New Orleans and on 16 December 1990;
41. Robin Ligon-Williams, 'Jazz dynamics in the city of jazz: is the music really evolving?', Louisiana Weekly (28 October-3 November 1996), p. 12.
42. Delfeayo Marsalis interviewed by the author on 8 August 1995;
43. Jason Marsalis interviewed by the author on 4 August 1995 in New Orleans;
44. Branford Marsalis interviewed by the author on 8 August 1998;
45. Wynton Marsalis interviewed by the author on 1 June 1993.
46. Delfeayo Marsalis interviewed by the author on 8 and 6 August 1995 in New Orleans.
47. Carol Hamilton, 'All that jazz again: Adorno's sociology of music', Popular Music and Society (Vol. 15, no. 3, 1991), pp. 31-40.
48. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995; quoted in James T. Jones, 'Racism: same as it ever was … or worse', Jazz Times (March 1995), pp. 57-8; Wynton Marsalis interviewed by the author on 1 June 1993 in Manchester; Wynton Marsalis interviewed by Paul Berliner in 1980 in New Orleans, Jazz Heritage Foundation Papers, Amistad Research Collection, University of Tulane, New Orleans, pp. 36, 11, 17.
49. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995; quoted in James T. Jones, 'Racism: same as it ever was … or worse', Jazz Times (March 1995), pp. 57-8; Wynton Marsalis interviewed by the author on 1 June 1993 in Manchester; Wynton Marsalis interviewed by Paul Berliner in 1980 in New Orleans, Jazz Heritage Foundation Papers, Amistad Research Collection, University of Tulane, New Orleans, pp. 36, 11, 17.
50. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995; quoted in James T. Jones, 'Racism: same as it ever was … or worse', Jazz Times (March 1995), pp. 57-8; Wynton Marsalis interviewed by the author on 1 June 1993 in Manchester; Wynton Marsalis interviewed by Paul Berliner in 1980 in New Orleans, Jazz Heritage Foundation Papers, Amistad Research Collection, University of Tulane, New Orleans, pp. 36, 11, 17.
51. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995; quoted in James T. Jones, 'Racism: same as it ever was … or worse', Jazz Times (March 1995), pp. 57-8; Wynton Marsalis interviewed by the author on 1 June 1993 in Manchester; Wynton Marsalis interviewed by Paul Berliner in 1980 in New Orleans, Jazz Heritage Foundation Papers, Amistad Research Collection, University of Tulane, New Orleans, pp. 36, 11, 17.
52. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995.
53. Albert Murray, Omni-Americans: Black experience and American culture (New York, Vintage, 1970), pp. 58, 166; Albert Murray, Stomping the Blues (New York, Doubleday, 1967), pp. 144-66; Ralph Ellison, Shadow and Act (New York, Vintage, 1965), p. 8; Amiri Baraka, The Music, op. cit., pp. 277, 10-11, 177-89, 317-27.
54. Albert Murray, Omni-Americans: Black experience and American culture (New York, Vintage, 1970), pp. 58, 166; Albert Murray, Stomping the Blues (New York, Doubleday, 1967), pp. 144-66; Ralph Ellison, Shadow and Act (New York, Vintage, 1965), p. 8; Amiri Baraka, The Music, op. cit., pp. 277, 10-11, 177-89, 317-27.
55. Albert Murray, Omni-Americans: Black experience and American culture (New York, Vintage, 1970), pp. 58, 166; Albert Murray, Stomping the Blues (New York, Doubleday, 1967), pp. 144-66; Ralph Ellison, Shadow and Act (New York, Vintage, 1965), p. 8; Amiri Baraka, The Music, op. cit., pp. 277, 10-11, 177-89, 317-27.
56. Albert Murray, Omni-Americans: Black experience and American culture (New York, Vintage, 1970), pp. 58, 166; Albert Murray, Stomping the Blues (New York, Doubleday, 1967), pp. 144-66; Ralph Ellison, Shadow and Act (New York, Vintage, 1965), p. 8; Amiri Baraka, The Music, op. cit., pp. 277, 10-11, 177-89, 317-27.
57. Delfeayo Marsalis, Pontius Pilate's Decision (Novus, RCA, PD90669, 1992); see, for example, Dirk Sutro, 'A third Marsalis bringing his sound to San Diego', Los Angeles Times (6 November 1992), p. F1; Ron Salmon, 'Delfeayo Marsalis: Pontius Pilate's Decision', Jazz Journal (Vol. 45, no. 11, 1992), p. 40.
58. Delfeayo Marsalis, Pontius Pilate's Decision (Novus, RCA, PD90669, 1992); see, for example, Dirk Sutro, 'A third Marsalis bringing his sound to San Diego', Los Angeles Times (6 November 1992), p. F1; Ron Salmon, 'Delfeayo Marsalis: Pontius Pilate's Decision', Jazz Journal (Vol. 45, no. 11, 1992), p. 40.
59. Delfeayo Marsalis, Pontius Pilate's Decision (Novus, RCA, PD90669, 1992); see, for example, Dirk Sutro, 'A third Marsalis bringing his sound to San Diego', Los Angeles Times (6 November 1992), p. F1; Ron Salmon, 'Delfeayo Marsalis: Pontius Pilate's Decision', Jazz Journal (Vol. 45, no. 11, 1992), p. 40.
60. Wynton Marsalis quoted in Joseph Irrera 'Jazz', Offbeat (January 2001), p. 19;
61. Delfeayo Marsalis interviewed by the author on 8 August 1995;
62. W. Royal Stokes, The Jazz Scene: an informal history from New Orleans to 1991 (New York, Oxford University Press, 1991), p. 238.
63. Jay Mazza, 'Jazz City: Delfeayo at Snug Harbor', Louisiana Weekly (19-25 May 1997), p. A11; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', Offbeat: New Orleans' and Louisiana's Music Magazine (Vol. 10, no. 10, 1997), pp. 52-4; Grace Lichtenstein and Laura Danker, Musical Gumbo: the music of New Orleans (New York, Norton, 1994), pp. 241-67; Jay Mazza, 'Jazz at the Sandbar', Louisiana Weekly (22-8 September 1997), p. 12A.
64. Jay Mazza, 'Jazz City: Delfeayo at Snug Harbor', Louisiana Weekly (19-25 May 1997), p. A11; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', Offbeat: New Orleans' and Louisiana's Music Magazine (Vol. 10, no. 10, 1997), pp. 52-4; Grace Lichtenstein and Laura Danker, Musical Gumbo: the music of New Orleans (New York, Norton, 1994), pp. 241-67; Jay Mazza, 'Jazz at the Sandbar', Louisiana Weekly (22-8 September 1997), p. 12A.
65. Jay Mazza, 'Jazz City: Delfeayo at Snug Harbor', Louisiana Weekly (19-25 May 1997), p. A11; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', Offbeat: New Orleans' and Louisiana's Music Magazine (Vol. 10, no. 10, 1997), pp. 52-4; Grace Lichtenstein and Laura Danker, Musical Gumbo: the music of New Orleans (New York, Norton, 1994), pp. 241-67; Jay Mazza, 'Jazz at the Sandbar', Louisiana Weekly (22-8 September 1997), p. 12A.
66. Jay Mazza, 'Jazz City: Delfeayo at Snug Harbor', Louisiana Weekly (19-25 May 1997), p. A11; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', Offbeat: New Orleans' and Louisiana's Music Magazine (Vol. 10, no. 10, 1997), pp. 52-4; Grace Lichtenstein and Laura Danker, Musical Gumbo: the music of New Orleans (New York, Norton, 1994), pp. 241-67; Jay Mazza, 'Jazz at the Sandbar', Louisiana Weekly (22-8 September 1997), p. 12A.
67. Ruth Brown, R + B = Ruth Brown, Bullseye Blues, Rounder (1997) CD BB 9583;
68. Scott Jordan, 'Bluesworthy: Ruth Brown', Offbeat: New Orleans' and Louisiana's Music Magazine (Vol. 10, no. 10, 1997), p. 42. When interviewed (8 August 1995), Delfeayo spoke at length about his enthusiasm for playing with, and encouraging, his younger brother Jason. All the family believe that drummer Jason may well be the most talented of them.
69. Elvin Jones, It Don't Mean a Thing …, Enja Records (1994) ENJ - 8066 2; Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995.
70. Delfeayo Marsalis interviewed by the author on 8 August 1995 in New Orleans; Moon Over Miami (thirteen-part ABC TV series, 1993).
71. Delfeayo Marsalis, 'Woodshed. Transcription: J. J. Johnson's solo on "Capris"', Downbeat (March 1994), p. 64.
72. Delfeayo Marsalis interviewed by the author on 4, 6 and 8 August 1995 and 24 April 2000 in New Orleans; Branford Marsalis interviewed by the author on 8 August 1998 in Brecon.
73. Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Wynton Marsalis, Black Codes from the Underground (CBS 26686, 1985); Michael White interviewed by the author on 14 April 1987, 11 April 1993 and 6 August 1995 in New Orleans; Proceedings of the Preservation of Jazz Advisory Commission (New Orleans, 28 August 1991), pp. 76, 104; Michael White interviewed by Tom Dent on 17 October 1983, New Orleans Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans. Michael leads the Young Tuxedo Brass Band and plays clarinet in small groups and large orchestras. He has appeared with Wynton Marsalis on several television programmes as well as on tour and at the Lincoln Center and has written and lectured in a manner that is both scholarly and accessible on various aspects of New Orleans music. He believes that 'jazz expresses every aspect of the collective and personal struggle against discrimination' (interview with the author on 11 April 1993). His formal association with the Marsalis family began when he worked and played with Wynton on Majesty of the Blues (CBS 465129, 1989).
74. Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Wynton Marsalis, Black Codes from the Underground (CBS 26686, 1985); Michael White interviewed by the author on 14 April 1987, 11 April 1993 and 6 August 1995 in New Orleans; Proceedings of the Preservation of Jazz Advisory Commission (New Orleans, 28 August 1991), pp. 76, 104; Michael White interviewed by Tom Dent on 17 October 1983, New Orleans Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans. Michael leads the Young Tuxedo Brass Band and plays clarinet in small groups and large orchestras. He has appeared with Wynton Marsalis on several television programmes as well as on tour and at the Lincoln Center and has written and lectured in a manner that is both scholarly and accessible on various aspects of New Orleans music. He believes that 'jazz expresses every aspect of the collective and personal struggle against discrimination' (interview with the author on 11 April 1993). His formal association with the Marsalis family began when he worked and played with Wynton on Majesty of the Blues (CBS 465129, 1989).
75. Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Wynton Marsalis, Black Codes from the Underground (CBS 26686, 1985); Michael White interviewed by the author on 14 April 1987, 11 April 1993 and 6 August 1995 in New Orleans; Proceedings of the Preservation of Jazz Advisory Commission (New Orleans, 28 August 1991), pp. 76, 104; Michael White interviewed by Tom Dent on 17 October 1983, New Orleans Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans. Michael leads the Young Tuxedo Brass Band and plays clarinet in small groups and large orchestras. He has appeared with Wynton Marsalis on several television programmes as well as on tour and at the Lincoln Center and has written and lectured in a manner that is both scholarly and accessible on various aspects of New Orleans music. He believes that 'jazz expresses every aspect of the collective and personal struggle against discrimination' (interview with the author on 11 April 1993). His formal association with the Marsalis family began when he worked and played with Wynton on Majesty of the Blues (CBS 465129, 1989).
76. Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Wynton Marsalis, Black Codes from the Underground (CBS 26686, 1985); Michael White interviewed by the author on 14 April 1987, 11 April 1993 and 6 August 1995 in New Orleans; Proceedings of the Preservation of Jazz Advisory Commission (New Orleans, 28 August 1991), pp. 76, 104; Michael White interviewed by Tom Dent on 17 October 1983, New Orleans Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans. Michael leads the Young Tuxedo Brass Band and plays clarinet in small groups and large orchestras. He has appeared with Wynton Marsalis on several television programmes as well as on tour and at the Lincoln Center and has written and lectured in a manner that is both scholarly and accessible on various aspects of New Orleans music. He believes that 'jazz expresses every aspect of the collective and personal struggle against discrimination' (interview with the author on 11 April 1993). His formal association with the Marsalis family began when he worked and played with Wynton on Majesty of the Blues (CBS 465129, 1989).
77. Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Wynton Marsalis, Black Codes from the Underground (CBS 26686, 1985); Michael White interviewed by the author on 14 April 1987, 11 April 1993 and 6 August 1995 in New Orleans; Proceedings of the Preservation of Jazz Advisory Commission (New Orleans, 28 August 1991), pp. 76, 104; Michael White interviewed by Tom Dent on 17 October 1983, New Orleans Jazz Heritage Foundation Papers, Amistad Research Center, Tulane University, New Orleans. Michael leads the Young Tuxedo Brass Band and plays clarinet in small groups and large orchestras. He has appeared with Wynton Marsalis on several television programmes as well as on tour and at the Lincoln Center and has written and lectured in a manner that is both scholarly and accessible on various aspects of New Orleans music. He believes that 'jazz expresses every aspect of the collective and personal struggle against discrimination' (interview with the author on 11 April 1993). His formal association with the Marsalis family began when he worked and played with Wynton on Majesty of the Blues (CBS 465129, 1989).
78. Delfeayo Marsalis interviewed by the author on 8 August 1995; Branford Marsalis interviewed by the author on 8 August 1998.
79. Delfeayo Marsalis, Musashi (Evidence, ECD 22187-2, 1997); Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit.; Keith Spera, 'Delfeayo, now of the New York Marsalises', Times-Picayune (5 September 1997), p. L6; Michael Hrebeniak, 'Up and coming: Julian Joseph', Jazz-fm (no. 8, 1991), p.17.
80. Delfeayo Marsalis, Musashi (Evidence, ECD 22187-2, 1997); Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit.; Keith Spera, 'Delfeayo, now of the New York Marsalises', Times-Picayune (5 September 1997), p. L6; Michael Hrebeniak, 'Up and coming: Julian Joseph', Jazz-fm (no. 8, 1991), p.17.
81. Delfeayo Marsalis, Musashi (Evidence, ECD 22187-2, 1997); Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit.; Keith Spera, 'Delfeayo, now of the New York Marsalises', Times-Picayune (5 September 1997), p. L6; Michael Hrebeniak, 'Up and coming: Julian Joseph', Jazz-fm (no. 8, 1991), p.17.
82. Delfeayo Marsalis, Musashi (Evidence, ECD 22187-2, 1997); Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit.; Keith Spera, 'Delfeayo, now of the New York Marsalises', Times-Picayune (5 September 1997), p. L6; Michael Hrebeniak, 'Up and coming: Julian Joseph', Jazz-fm (no. 8, 1991), p.17.
83. Delfeayo Marsalis interviewed by the author on 6 and 8 August 1995; Wynton Marsalis interviewed by the author on 5 February 2001.
84. Delfeayo Marsalis, 'My brother James' and 'Negroid fatherhood', (New Orleans, Three Fifths, 1995); Delfeayo Marsalis, liner notes for Branford Marsalis, I Heard You Twice the First Time (Columbia CT 46083, 1992).
85. Delfeayo Marsalis, 'My brother James' and 'Negroid fatherhood', (New Orleans, Three Fifths, 1995); Delfeayo Marsalis, liner notes for Branford Marsalis, I Heard You Twice the First Time (Columbia CT 46083, 1992).
86. Delfeayo Marsalis, 'Luther's big lesson', (New Orleans, Three Fifths, 1995); Mary Lou Atkinson, 'A jazzy summer show', Times-Picayune (9 August 1997), p. E1; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit., p. 54; Jay Mazza, 'Los Hombres Calientes return', Louisiana Weekly (10-16 August 2000), p. 14.
87. Delfeayo Marsalis, 'Luther's big lesson', (New Orleans, Three Fifths, 1995); Mary Lou Atkinson, 'A jazzy summer show', Times-Picayune (9 August 1997), p. E1; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit., p. 54; Jay Mazza, 'Los Hombres Calientes return', Louisiana Weekly (10-16 August 2000), p. 14.
88. Delfeayo Marsalis, 'Luther's big lesson', (New Orleans, Three Fifths, 1995); Mary Lou Atkinson, 'A jazzy summer show', Times-Picayune (9 August 1997), p. E1; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit., p. 54; Jay Mazza, 'Los Hombres Calientes return', Louisiana Weekly (10-16 August 2000), p. 14.
89. Delfeayo Marsalis, 'Luther's big lesson', (New Orleans, Three Fifths, 1995); Mary Lou Atkinson, 'A jazzy summer show', Times-Picayune (9 August 1997), p. E1; Jonathan Tabak, 'Delfeayo Marsalis: doing it his way', op. cit., p. 54; Jay Mazza, 'Los Hombres Calientes return', Louisiana Weekly (10-16 August 2000), p. 14.
90. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
91. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
92. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
93. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
94. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
95. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
96. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
97. Ellis Marsalis, Syndrome (Elm JS 4834, 1983). Gary Giddings in Rhythm-a-ning: jazz tradition and innovation in the 80's (New York, Oxford University Press, 1986) remarks that here 'His melodic gift is impressive, at times sumptuous, and his long and dulcet phrases are quite unmarred by the vanities to which lyrical piano improvisation has become subject in recent years' (p. 264). Branford Marsalis, Royal Garden Blues (Columbia 40363, 1986); Ellis and Branford Marsalis, Loved Ones (Columbia. 483624 2, 1996); Wynton Marsalis, with Ellis Marsalis, Standard Time, Vol. 3: the resolution of romance (Columbia, CT 46143, 1990); Branford Marsalis, Bhomington (Columbia, 473771 2, 1993); Delfeayo also produced the later studio trio album, Branford Marsalis, The Dark Keys (Columbia 486668 2, 1996). See also Branford Marsalis, Contemporary Jazz (Columbia, CK 63850, 2000).
98. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
99. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
100. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
101. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
102. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
103. Jonathan Tabak, 'Branford's Decision', Offbeat (October 2000), p. 18; Delfeayo Marsalis interviewed by the author on 8 August 1995; Wynton Marsalis, Citi Movement (Griot New York), (Columbia C2T 53324, 1933); Mike Zwerin, 'The third Marsalis: making his own sounds', International Herald Tribune (20 December 1996), p. 1; Wynton Marsalis, Tune in Tomorrow (film score - Columbia 467785 4, 1990); Krin Gabbard, Jammin' the Margins: jazz and the American cinema (Chicago, IL, University of Chicago Press, 1996), pp. 101-4, 136, 144-6, 152, 156, 260.
104. Wesley Snipes, quoted in Susie Mackenzie, 'Brother on another planet', Guardian Review (15 November 1997), p. 20: Victoria E. Johnson, 'Polyphony and cultural expression: interpreting musical traditions in Do The Right Thing', in Spike Lee's Do the Right Thing, edited by Mark A. Reid (Cambridge, Cambridge University Press, 1997), pp. 52-67.
105. Wesley Snipes, quoted in Susie Mackenzie, 'Brother on another planet', Guardian Review (15 November 1997), p. 20: Victoria E. Johnson, 'Polyphony and cultural expression: interpreting musical traditions in Do The Right Thing', in Spike Lee's Do the Right Thing, edited by Mark A. Reid (Cambridge, Cambridge University Press, 1997), pp. 52-67.
106. William P. Nye, 'Theodor Adorno on jazz: a critique of critical theory', Popular Music and Society (Vol. 12, no. 4, 1988), pp. 69-73.
107. Delfeayo Marsalis interviewed by the author on 4, 6 and 8 August 1995; Delfeayo and Ellis Marsalis III in conversation with the author on 24 April 2000; Branford Marsalis interviewed by the author on 8 August 1998.