Wynton Marsalis
Wynton Marsalis
Wynton Learson Marsalisis a trumpeter, composer, teacher, music educator, and artistic director of Jazz at Lincoln Center in New York City, United States. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and his Blood on the Fields was the first jazz composition to win the Pulitzer Prize for Music. Marsalis is the son of jazz musician Ellis Marsalis, Jr., grandson of Ellis Marsalis, Sr., and...
NationalityAmerican
ProfessionComposer
Date of Birth18 October 1961
CityNew Orleans, LA
CountryUnited States of America
My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.
The blues is always there. It's going to be hard out here, but it's all right. It's all right, and that's what the blues teaches you. You got to roll with the punches and find your equilibrium.
My father was a teacher, my mama was a community worker, I taught in so many schools. So when you get that experience of how to communicate with younger people, put that hand on them and give them that old-school feeling, the maturity and adult, a lot of our kids just need the feeling of that love, and that's the frame of reference that I teach from and that's the frame of reference that all of our musicians in the Jazz at Lincoln Center.
I get so much from having the opportunity to interface with the younger people and to bring information to them and to represent our culture and our way of life. The feeling and the warmth and the love, it's unbelievable. The type of exchange that goes on between students and teachers or visiting people who are doing master classes, and not just when they're musicians. Even general classes, when the students are not necessarily musicians.
We created the spirituals. We created so much great music, jazz chief amongst our innovations, teaching us how to prize ourselves and how to speak to one another, that our kids don't know that achievement, there's no way in the world that could be good for us.
My daddy thought - no, he expected - that my brothers and I and our generation would make the world a better place. He was correct in his belief because he had lived in an America of continual social progress, depression followed by prosperity, segregation by integration, and so on.
I grew up in the South, and our way of dealing with each other was teasing, ribbing, making fun and scrapping in the street. Criticism doesn't bother me so much. It actually made me, when I was younger, more aggressive. But you get into middle age, and you lose interest in that stuff. It's not serious.
I became a man in New York. New York made me the musician that I am and the person that I am, so it's impossible for me to say I regret having lived there.
When you create change with your point of view, you have to be ready for what comes with that.
Duke Ellington always had a style: original, clean with interesting color combinations. He had an artist's eye.
What I've learned how to do as I've gotten older is to take all of the information that I have, and push it aside, and try to distill each song into an emotional theme. The hardest thing that I've ever had to learn how to do in playing music is use the sound of my instrument to create an emotional effect.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
As a jazz musician, you have individual power to create the sound. You also have a responsibility to function in the context of other people who have that power also.
Generally, when I wake up in the morning I set out a series of problems for myself and I write them down, and when I'm sleeping, my mind solves the problems. When I wake up in the morning, I have more clarity on the issue.