Wynton - The Only Person in Jazz Who Matters?


I was just wondering when Wynton Marsalis’ opinion became so central to jazz that an article about another musician has to include a discussion about whether that artist gets along with Wynton and the nature of their relationship?

The New Yorker this week has a – mostly – very nice article on Esperanza Spaulding, the Portland, OR bass player. (She just smokes her fiddle BTW. I saw her playing with Joe Lovano last year and she was just phenomenal. She got every bit as much applause as Joe did.) For some reason the author felt compelled to discuss her – and I think by extension all of jazz – through the lens of whether or not Wynton would approve, or even call it jazz. That seems awfully narrow minded.

Granted, he has the loudest megaphone with JALC, but c’mon, is that really necessary?
grimace

Showing 1 response by onhwy61

Jazdoc, very well said.

When Mr. Marsalis first gained the music world's attention back in 1980 jazz from a commercial perspective was dead. No one was getting label contracts and established artists were still in their funk/fusion stages. Whether it was foisted upon him or he jumped and grabbed it, Marsalis became the face and voice of jazz to the wider population. For more than a generation he's carried that burden quite well. He ain't perfect, but he's real, real good.