ENCYCLOPEDIA POPULAR MUSIC CALL 3rd EDITION Marsalis, Delfeayo b. c.1963, New Orleans, Louisiana, USA. The third of four musician sons of pianist Ellis Marsalis, he began studying trombone when he was 12 years old, then went to Berklee College Of Music. His professional career as a performer was delayed because he took up record production, working on albums by his father, his brothers Wynton and Branford Marsalis and Courtney Pine. An eclectic taste incorporates classical music and many areas of jazz. While he has expressed admiration for trombonists Tommy Dorsey and Jack Teagarden, his instrumental idol is JJ. Johnson. Marsalis's playing experience has all been at a very high level, including spells with bands led by Ray Charles, Fats Domino, Abdullah Ibrahim and Art Blakey. As he explained to Derek Ansell in an interview for Jazz Journal International, he is eager to develop his own playing style and to expand his own career which has hitherto been overshadowed by his more famous broth- ers. • ALBUMS: Pontius Pilate's Decision (RCA Novus 1992).*** Marsalis, Ellis b. 14 November, 1934, New Orleans, Louisiana, USA. Although he has never really been a revolutionary band-leader or pianist, Ellis Marsalis' influence on the American mainstream jazz scene cannot be over-esti- mated. As an inspirational figure to a new generation of artists, and an educator and spokesman, this New Orleans-born pianist is unrivalled. Marsalis' profes- sional music career began on tenor saxophone while still in high school, but he changed to piano a few years later, performing with such New Orleans-based modern jazz luminaries as clarinettist Alvin Batiste and drummer Ed Blackwell. He spent a brief spell on the west coast (he accompanied Blackwell out there, who was going out to meet up with Ornette Coleman), before signing up for military service with the marines 3474 ML wz. ^66 accompanying singers on CBS television, on the Marine-sponsored Dress Blues show. Back in New Orleans during the early 60s, Marsalis' reputation as a sensitive and versatile accompanist led to a job fronting the house trio at the Playboy Club, where he accompa- nied stars vocalists such as Ernestine An^^rm anrl Jimmy Rushing. He joined trumpeter Al boating trad band during the late 60s, a with the group on many popular Americ shows, before leaving to join Bob Frencl Jazz Band in 1970, continuing the all-roun tion and understanding that has made unique figure on the current scene. He we his own highly successful modern jazz bam mer James Black, enjoying a residency at Orleans' premier jazz clubs for a year and mid-70s, Marsalis began to turn his atte: furthering his involvement in education, teaching since the mid-50s, but now he b. in earnest on a jazz curriculum, and was the New Orleans Centre for the & (NOCCA) in 1975. As a teacher, Marsz have included many of the new genera Orleans-based modern jazz stars, includin Victor Goines, bassist Reginald Veal, Jordan, trumpeter Terence Blanchard, p Harry Connick Jnr. and, of course, his s: Wynton Marsalis (trumpet), Branford M phones), Delfeayo Marsalis (trombon Marsalis (drums), who have affected the permanently, with their emphasis on craft learning. Ellis Marsalis is head of jazz ; University of New Orleans and a panellist, tor and board member for the National Ei the Arts and the Southern Arts Federation • ALBUMS: Piano In E (Rounder 1984)**i Trio (Blue Note 1990)****, Heart Of G 1991)***, The Classic Marsalis (Boplicity with Wynton Marsalis Joe Cool's Blues (Colum A Night At Snug Harbor, New Orleans (Evidet with Branford Marsalis Loved Ones (Columbia Marsalis, Wynton Ouubu Orleans, Lo Marsalis took up the trumpet at the age aged by Tiis father, Ellis Marsalis, a piai and teacher. His brothers, Delfeayo ; Marsalis are also musicians. Before enter years he was already studying formally, 1 taneously developed an interest in jazz. T playing included performing with a marching band led by Danny Barkei trumpet concertos with the New Orleans Orchestra. Marsalis later extended his st the USA's most prestigious musical educ; ments, Berkshire Music Center at Tangl Juilliard School of Music in New York C destined for great things. It was then that he joined Art Blakey's Jazz Messengers, perhaps the best of all finish- ing schools for post-bop jazzmen. During the next two years he matured considerably as a player, touring and recording with Blakey and also with other leading jazzmen, including Herbie Hancock and Ron Carter. He also made records under his own name and, encouraged by his success, decided to form his own permanent group. In this he was joined by his brother Branford. During 1983, he again worked with Hancock. The following year he recorded in London with Raymond Leppard and the National Philharmonic Orchestra, playing concertos by Hayden, Hummell and Leopold Mozart - a side-step which led to his becoming the unprecedented recipient of Grammy Awards for both jazz and classical albums. He next toured Japan and Europe, appearing at many festivals, on television and making many recording sessions. By 1991, and still only just turned 30, he had become one of the best- known figures on the international musical stage. Insofar as his classical work is concerned, Marsalis has been spoken of in most glowing terms. In his jazz work his sublime technical ability places him on a plateau he shares with very few others. Nevertheless, despite such extraordinary virtuosity, the emotional content of Marsalis's work often hints only lightly at the possibili- ties inherent in jazz. Sometimes, the undeniable skill and craftsmanship are displayed at the expense of vital- ity. If compared to, say, Jon Faddis, eight years his senior, or Clifford Brown, who died at the age of only 26, then there is clearly some distance to go in his s a player of emotional profundity. ALBUMS: with Art Blakey Recorded Live At Bubba's Blakey Straight Ahead (1981)***, Wynton Marsalis (Columbia 1981)****, Think Of One (Columbia 1982)****, with Branford and Ellis Marsalis Fathers And Sons (Columbia 1982)***, The Herbie Hancock Quintet (1982)***, with Blakey Keystone 3 (1982)***, Hot House Flowers (Columbia 1984)****, Black Codes (From The Underground) (Columbia 1985)****, / Mood (Columbia 1986)****, Live At Blues Alley (Columbia 1987)****, Marsalis Standard Time (Columbia 1987)****, The Majesty Of The Blues (Columbia 1988)***, Crescent City Christmas Card (1989)***, Marsalis Standard Time Volume 2 (Columbia 1991)***, Marsalis Standard Time Volume 3 (Columbia 1991)***, Thick In The South (Columbia 1991)***, Uptown Ruler (Columbia 1991)***, Levee Low Moan (Columbia 1991)***, Tune In Tomorrow (Columbia 1991)***, Blue Interlude (Columbia 1992)***, Gift Movement 2-CD set (Columbia 1993)***, Resolution To Swing (Columbia 1993)***, In This House, On This Morning (Columbia 1994)***, with the Lincoln Center Jazz Orchestra Blood On The Fields (Columbia 1997)***, The Midnight Blues #etaed3gmt+Xolume 5 (Columbia 1998)***. VIDEOS: Tha London Concert (Sony Classical 1994), wn/n Dn .Vterzc (Sony 1995). 3475