BRANFORD MARSALIS — Branford Marsalis Quartet : The Secret Between the Shadow and the Soul

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4.00 | 3 ratings | 1 review
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Album · 2019

Tracklist

A1 Dance Of The Evil Toys 8:23
A2 Conversation Among The Ruins 8:46
A3 Snake Hip Waltz 5:51
A4 Cianna 7:32
B1 Nilaste 10:15
B2 Life Filtering From The Water Flowers 9:00
B3 The Windup 12:30

Line-up/Musicians

Bass – Eric Revis
Drums – Justin Faulkner
Piano – Joey Calderazzo
Saxophone – Branford Marsalis

About this release

Marsalis Music ‎– 19075914032 (Europe)

Thanks to snobb for the addition and js for the updates

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BRANFORD MARSALIS BRANFORD MARSALIS QUARTET : THE SECRET BETWEEN THE SHADOW AND THE SOUL reviews

Specialists/collaborators reviews

js
For those who like their jazz on the more heated side of things, Branford Marsalis’ “The Secret Between the Shadow and the Soul” should fit the bill. Its been said by more than a few that Branford’s studio recordings are no match for the fire of his live performances, and that may still be true, but this new one is probably the one studio recording that gets the closest to his live intensity, and likewise, this is also one of the better recordings in Branford’s lengthy career. Not everything on “Secret” is high energy, there is a variety of styles at work here, but it’s the ones on which Marsalis cuts loose that really mark this album as something special.

Opener “Dance of the Evil Toys” sets a modernist tone with its blend of a loping African rhythm, Stravinsky like snaky melody and harsh piano smashes. They throw a change up by introducing the ballad, “Conversation Among the Ruins”, as the second number, but it is a remarkable composition, something worthy of inclusion in future standard collections. The rest of the album is made up of a variety of 21st century post bop meets 60s free jazz with Branford and pianist Joey Calderazzo knocking out one high intensity solo after another. This all culminates with album closer, Keith Jarret’s “The Windup”, whose wacked out punky be-bop melody and arrangement sounds like something from today’s NYC scene, not the 70s when Keith wrote it. If there is one track that doesn’t quite fit, it’s the laid back Latin groove of “Cianna”, whose somewhat restrained solos don’t fit the energy and creativity of the rest of the album. Maybe that one is supposed to be the radio friendly song.

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