Citi Movement

Artist: Wynton Marsalis Septet
Label: Sony
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 2

UPC: 074645332420
EAN: 0074645332420
ASIN: B0000028YH

Release Date: 1993-01-26

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Listmania:

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Tracks:

Hustle Bustle
City Beat
Daylight Dinosaurs
Down The Avenue
Stop And Go
Nightlife-Highlife(Yas, Yas)
How Long?
I See The Light (Vocal)
I See The Light (Instrumental)
Duway Dialogue
Dark Heartbeat
Cross Court Capers
Bayou Baroque
Marthaniel
Spring Yaounde

Tracks:

The End
The Legend Of Buddy Bolden
Swingdown, Swingtown
Highrise Riff
Modern Vistas (As Far As The Eye Can See)
Curtain Call

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Customer Reviews:

Nice.......2006-03-09

The more I listen to Wynton Marsalis's septet, the more I see him more as a composer than as a jazz trumpeter. Sure, he can play a mean trumpet, but that's just scratching the surface in terms of what he is capable of doing.

Wynton scores the music in this suite (yeah?) so it personifies city life -- people, cars, partying, etc. As usual, very polyphonic. There is a lot of interplay between the musicians. My favorites on this album are "Nightlife, Highlife", "Swingdown, Swingtown", and "Curtain Call". I bought this album about 3 years ago and I still find myself listening to it, though rarely in its entirety.

Transcendant.......2004-11-17

This piece work by Wynton is what i think the climax of his writing ability. He is continueing to write amazing compositions like blood on the fields was amazing. But this album is a masterpiece. Written by someone with extroadinary talent even if you dont like his stuff, his writing ability on citi movement is out of this world.

A Thematic Tour-De Force.......2001-08-16

You would be hard pressed to find a finer acoustic jazz work than "Citi Movement". The entire septet is in exceptional form throughout these brisk, adventurous and, at times, almost avant-garde selections, my favorites being the opening "City Beat" and "Hustle Bustle" and the sprawling, multi-sectioned "How Long" featuring astounding interplay by Marsalis and Saxophonist Todd Williams. The moaning cello/bass intro by Reginald Veal is also quite moving and reminds me of the great Reggie Workman. Drummer Herlin Riley is also in fine form and round out the great rhythm section. The melodic structures explored here are matched only by the chordal voicings these young jazz cats tackle and may challenge the casual listener with some of their careening tempo changes and mood shifts, but given time and the proper attention one will find this a quite rewarding listen. Ensemble playing on this level is rarely heard these days and anyone who is SERIOUS about the swing should invest some time in this balletic masterpiece. An Essential Recording.

It is my favorite album of the 1990s (maybe the 80s too).......1999-06-25

Exquisite; a masterpiece. Wynton has done something great for jazz here. Unfortunately, nostalgia for and festishization of the legends of the '20s-60s will probably not permit it to be placed among the greatest of the great jazz works but it should be. Also unfortunately, the politicization of his image (due to him, his allies, and his critics) will affect one's impression of the album.

Originality, vitality, innovation perfectly enmeshed with an awareness of jazz's past. Too bad that his other albums can't match this one in terms of combining momementum, passinon, creativity, theme and structure.

If you are going to get one album by Marsalis, then get this one. It is a mindblowing experience. I enjoy other albums by Wynton but I can't characterize any of them as being "mindblowing" like I can this one.

Wynton's finest work to date.......1999-01-05

This is Wynton's best ensemble writing for the septet. The band, featuring both Eric Reed and Marcus Roberts on piano (on different tracks) is the classic septet lineup, and you can tell Marsalis was inspired by working with this band.

The first disc is tremendous, but acts only as a prelude to disc two, which exceeds all expectations. "The Legend of Buddy Bolden" is powerful storytelling from Wynton's horn. "Swingdown, Swingtown" oozes bluesy elegance, getting you ready for "Highrise Riff," an absolutely stunning, barn-burning tune, with extremely intricate horn lines that never waver at an extremely hot tempo. The rhythm section on this track (Reed, Reginald Veal, and Herlin Riley) does yeoman's work here. "Modern Vistas (As Far As the Eye Can See)" is a completely original musical vision of urban life, a positive statement of the possibilities of jazz realized.

Last, but not least, is "Curtain Call," with Marcus Roberts' churchy piano rolling through this bayou thank you. You leave this recording satisfied that jazz is in good hands and wanting more from this band and Marsalis's pen and horn.

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