On a drum kit, Jason Marsalis often goes several directions (meters, not Meters) at once. On vibraphone, as he demonstrates on In A World Of Mallets, it's more a matter of smoothing out many segments into a continuous whole. Over the course of the album he invokes bells, chimes and the signature tunes of cozy wall clocks grown familiar from decades of old Hollywood, not to mention the Indonesian gamelan and, for good measure near the end, some whistling. The whistling is charming, and brings further context and layers worked by the vibes thatafter a long stretch of Marsalis on many notes at onceprovide a refreshing look at his virtuosity with single-note melodies.
Against their boss letting it all hang out with such impeccable swing logic, the other three players stay calm and collected, but don't wallflower themselves. Bassist Will Goble, drummer Dave Potter and pianist Austin Johnson delicately pull apart the beat like starfish arms working on an oyster dinner, leaving splendid gaps within which to stumble. Potter's cymbals sometimes echo the leader's mallet work; everything spreads just slightly apart, and then works enticingly to reinvent itself as a new whole.
"Blues Can Be Abstract, Too" bring a completely new jazz take on the blues undertones. "Whistle For Willie" evokes images of street corner New Orleans, and is as glassy and smooth as a sazerac. Marsalis is the mostly "unknown" part of one of jazz music's first families, but is spot-on with his artistry on In A World Of Mallets.
Track Listing: Discipline Discovers a World of Mallets, Blues Can Be Abstract, Ballet Class, Characters, Blues for the 29%ers, My Joy Track, Ill Bill, Louisiana Gold Track, Big Earl's Last Ride, The Nice Mailman's Happy Song to Ann, Nenhum Talvez Track, Closing Credits, Whistle
for Willie Track, Discipline Gets Lost in a World of Mallets.
Personnel: Jason Marsalis: marimba, glockenspiel, tubular bells, vibraphone, xylophone; Will Goble: bass; David Potter: drums; Austin Johnson: piano.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.