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| 3.651 Ft
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| 1. | There's a Thing Called Rhythm
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| 2. | Marakatu de Modernizar
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| 3. | The Sweeper
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| 4. | On the First Occasion
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| 5. | The Steepistician
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| 6. | Discipline Strikes Again
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| 7. | Treasure
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| 8. | It Came from the Planet of Nebtoon
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| 9. | Short Story No.1
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| 10. | Seven-Ay Pocky Way
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| 11. | [Untitled Hidden Track]
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Jazz
Recorded at Ultrasonic Studios, New Orleans, Louisiana from December 19-27, 1999
Derek Douget - Sax (Alto), Sax (Soprano)
Jason Marsalis - Drums, Percussion, Producer
John Ellis - Sax (Tenor)
Jonathan Lefcoski - Piano
Peter Harris - Bass
As the youngest member of the Marsalis dynasty, drummer Jason has had his work cut out for him since he picked up his first pair of sticks. With MUSIC IN MOTION, his second release as a leader, it is clear that he has risen to the task. Marsalis displays deft musicality and proves to be a stellar talent--worthy of his famous family line. The drummer has also made a point of studying all things theoretical. MOTION's ten cuts stem not only from Marsalis' sticks but from his pen as well.
Marsalis comes out swinging with the aptly titled "There's a Thing Called Rhythm," a sizzling spotlight for the young drummer. Like the other members of the Marsalis clan, Jason never forgets his N'awlins heritage. He incorporates several funky, second-line grooves into such cuts as the intricate "Marakatu de Modernizer" and the ultra-hip "Seven-Ay Pocky Way." He is not afraid to stretch out, either. The solo spot "Discipline Strikes Again" finds Marsalis indulging in creatively overdubbed percussion that moves through several distinct styles and themes. Other highly musical tracks include the dark ballad "Short Story #1" and the complex "The Steepistician."
* Diana Thornton - Graphic Design
* Jeff Strout - Photography
* Mark Samuels - Executive Producer
* Parker Dinkins - Mastering
* Steve Reynolds - Engineer
Includes liner notes by Lil' Man Jake.
Considering it is only his second recording as leader, Jason Marsalis exhibits an uncommonly resolute assurance on Music in Motion. If his debut album heralded an exciting new voice in jazz, then its follow-up introduces a musician already in full command of his compositional and instrumental powers. The album is not only a confident statement (although it is certainly that, as Marsalis wrote all the compositions and produced the album himself), it is a recording that sets the bar high, and frequently succeeds at clearing it, putting forth a goal of expanding jazz's rhythmic palette and then finding a unifying principle with which to do so. Marsalis constructed the recording to accent motion, and he wrote all the tunes with rhythm in mind, to showcase the rhythmic possibilities of all the instruments, particularly the saxophone interplay of tenor John Ellis and alto/soprano Derek Douget, one of two holdovers from the first album. The duo perfectly complements one another, trading off wonderful playing on songs such as "There's a Thing Called Rhythm," with its multiple time changes, and the Brazilian-influenced "Maracatu de Modernizar." Marsalis also proves himself in exceptional form, emulating seminal influence Jeff "Tain" Watts on the rousing tribute to his brother Branford, "The Steepistician," and making a song out of the scintillating overdubbing exercise "Discipline Strikes Again," an extension of the previous album's percussion experiment, "Discipline." Improvisation plays a more central role on the album than on the previous one, and the band is more than up to the challenge. The unit perhaps experiments a bit less wildly than on the debut, but they are just as adventurous and draw on stylistic influences that are just as diverse. On "It Came from the Planet Nebtoon," they cast a bit of a free jazz spell, while "Seven-Ay Pocky Way" injects some welcome Meters-style funk into the equation, and it points to the true progression of Music in Motion. In his liner notes, Marsalis describes his vantage point: "If jazz is to keep moving forward, all of the musical styles in jazz history have to be advanced while including musical styles out of the jazz realm." Music in Motion is a fabulous first step toward that ideal.
---Stanton Swihart, All Music Guide
It could be said that Jason Marsalis was born to a family of innovators. It could also be said he was born into the first family of jazz. His father, Ellis Marsalis, is a renowned pianist, jazz educator, and patriarch of a musical dynasty that includes four independently minded sons: eldest Branford Marsalis, a saxaphonist who no one ever called a conformist; visionary trumpeter and Pulitzer Prize-winner Wynton Marsalis; Delfeayo Marsalis, going his own way on the trombone; and youngest brother, Jason Marsalis, extending the horizons on the drums.
It is some indicator of that genetic maverick spirit that Jason Marsalis left the wildly successful Los Hombres Calientes at the height of its popularity to explore other musical avenues with the Marcus Roberts Trio. The multi-award-winning Los Hombres Calientes, of which Marsalis was a founding member, along with trumpeter Irvin Mayfield and percussionist Bill Summers, brought the young drummer a degree of exposure that even his famous name could not guarantee. Only talent could do that.
Jason Marsalis started on toy drums at three, moved to violin, then back to drums for good at 12. In 1991, at age 14, he made his first appearance on the Heart of Gold CD with his father. The drummer appeared on two more Ellis Marsalis CDs: Whistle Stop (1993) and Twelve's It (1998). The youngest Marsalis continued to develop his skills on CDs with artists including Roland Guerin, Harold Battiste, and Marlon Jordan, as well as working with the local Brazilian dance group Casa Samba.
In 1998, Marsalis, taking a cue from other drummers he saw putting out their own work, cut his first CD, The Year of the Drummer, which received accolades for its thoughtful, straight-ahead jazz approach. The same year, opportunity knocked when Mayfield called to say he was interested in forming a Latin fusion group. Marsalis suggested the trumpeter check it out with Bill Summers, the former percussionist in Herbie Hancock's Headhunters and a longtime student of Afro-Cuban rhythms. The three musicians formed Los Hombres Calientes in 1998. The group's hot dance music was an instant sensation. In what Marsalis felt was a precipitous move, the group immediately put out a CD to coincide with their appearance at the New Orleans Jazz and Heritage Festival. Despite Marsalis' misgivings, the CD won numerous awards. Marsalis was more satisfied with the group's second release, Los Hombres Calientes, Vol. 2, which appeared in 1999. Marsalis left the group in 2001 to pursue his affiliation with pianist Marcus Roberts. Marsalis also formed his own quintet, comprised of John Ellis, tenor saxophone; Derek Douget, alto and soprano saxophones; Jonathan Lefcoski, piano; and Peter Harris on bass. Marsalis produced a CD, Music in Motion, in 2000, which features all original material by the drummer. Marsalis draws on his New Orleans roots on the cut "Seven-Ay Pocky Way," while exploring world rhythms from Africa to Brazil in pursuit of his artistic role as "keeper of the groove."
---Rose of Sharon Witmer, All Music Guide
Styles: Post-Bop, Hard Bop |
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