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Jazz Articles about Thomas Marriott
Tula's Jazz Club: A Seattle Tradition in the Making
by Paul Rauch
Life in the Pacific Northwest is hauntingly similar to jazz music itself, from that which is inward, deep in the recesses of our collective soul, to the outward expressionism as a ray of sunlight, an exaltation of joy, harmony expressed in the deep, deep blue of sentient life, and of our enlightened sky. High notes expressed in tall mountain peaks, deep tones expressed by deep, dark waters, all while Tahoma sits like Buddha, the near autumn clouds acting as a ...
Continue ReadingRay Vega & Thomas Marriott: Return of the East-West Trumpet Summit
by Dan McClenaghan
Seattle-based trumpeter Thomas Marriott plays well with electricity. Specifically, with the Hammond B3 organ. The most memorable of his now nine CDs on Origin Records feature either the Hammond B3 or some serious Moog synthesier/Fender Rhodes work: Crazy: The Music of Willie Nelson (2007 ), with Ryan Burns on electric keys; Human Spirit (2009), featuring Gary Versace on B3; and now Return of the East-West Summit, with the versatile George Colligan sitting in on the Hammond B3, and Marriott's mentor, ...
Continue ReadingThomas Marriott: Urban Folklore
by Stefano Merighi
Il quartetto di Thomas Marriott in questione rappresenta una bella sintesi del jazz americano: Marriott da Seattle, Eric Revis californiano, Orrin Evans erede della scuola di Philadelphia, infine Donald Edwards da New Orleans. Ma le origini non condizionano più di tanto una musica ecumenica, che vive sulla brillantezza tecnica, su un “esperanto" jazzistico che, se poco ha da dire di nuovo, conferma una saggezza di pensiero e una piacevolezza d'ascolto indubitabili. Thomas Marriott ha vissuto un decennio ...
Continue ReadingThomas Marriott: Urban Folklore
by Mark Corroto
Nothing has hit quite as hard as recent music from the trio of pianist Orrin Evans, bassist Eric Revis and Drummer Donald Edwards. The three musicians seek out (or probably are sought by) collaborators of equal weight and energy. It is not surprising that this recording of nine compositions, led by trumpeter and Seattle native Thomas Marriott, is a knockout from the opening number. Urban Folklore is Marriott's ninth as leader, and follows Dialogue (Origin Records, 2012) a ...
Continue ReadingThomas Marriott: Constraints & Liberations
by Greg Simmons
Listening to Thomas Marriott's Constraints & Liberations, two things are abundantly clear: Marriott spent some serious time studying Miles Davis' second great quintet; and, his own voice on trumpet is developed well enough to make it sound like a strong, easily recognizable influence, but not plagiarism. Naturally, favorable comparison to the one of the greatest standing outfits in the history of jazz is intended as a compliment. The record has a moderate, ocean wave-like pace, but with ...
Continue ReadingThomas Marriott: Constraints and Liberations
by Dan McClenaghan
Trumpeter Thomas Marriott keeps growing as an artist. He has released CDs at a healthy pace since 2005: an introduction for many perhaps unwary jazz fans to some warped country western flavor on Crazy: The Music of Willie Nelson (Origin Records, 2008); cranking an all-star quintet up in a modern mainstream mode on Flexicon (Origin Records, 2009); and letting it rip on a two-trumpet blow fest with fellow brass man Ray Vega on East-West Trumpet Summit (Origin Records, 2010). Constraints ...
Continue ReadingThomas Marriott: Flexicon
by Dan McClenaghan
If Seattle, Washington-based Origin Records can be said to have a signature sound, trumpeter Thomas Marriott's Flexicon could be picked as an example. The music is mainstream, with two horns and a rhythm section, polished up and modernized with a nice edge, some luminous Fender Rhodes, a solid-yet-adventurous bassist, and a top notch, push-the-tradition-forward drummer. And everything small and large that the drummer does can be heard. Additionally, Joe Locke is featured on vibes on a couple of tunes.
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