These are some of the finest musicians to appear over the last three decades and some of the finest to have ever played their instruments, which one can hear proven on albums such as Blue Interlude Citi Movement In This House, On This Morning and Live At The Village Vanguard. Part of the clear celebratory feeling heard here is in recognition of a reunion of artists bound together by objective facts and accomplishments. On this recording Marsalis has put together a unit that includes veterans from earlier groups he led going back to the 1980s. The instrumentalists gather here can do just that. To make great jazz, one always needs great musicians or musicians who can step up to improvised greatness when the moment makes that demand. Those traditions do not hold him or his musicians “back” because they are reignited through individual personality. Always a rebel in the interest of substance as opposed to fluff and glitter, Marsalis creates music completely based in what he considers the most significant American traditions. Marsalis has found his own way and has also found the level of musicians with whom he could create what has become a subtle revolution in American music that is usually missed because it is not attached to a trend. At its best, New Orleans music contains profound human meanings that can steal up on us in the invisible medium of sound, collecting and delivering everything available to life. New Orleans musical art, however direct and syncopated it might seem, it is never truly simple. The word revolutionary is overused today but it applies here because of what this music demands of its players in technique, soul, and response to one another on the moment. The music of his hometown is not only the basic driving force and conception of all jazz schools, it is directly used here in a traditional way that is also revolutionary. Wynton Marsalis is from New Orleans, the Crescent City of fable and fact existing where the Mississippi meets the Gulf.
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