Delfeayo Marsalis – Crescent City Jewels

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   New Orleans enjoys any number of unique, robust aspects of life that can be considered its jewels, or precious stones. As the birthplace of jazz, its singular musical culture—being so closely linked to the African diaspora—is regaled around the world. On trombonist and bandleader Delfeayo Marsalis latest release, Crescent City Jewels, the musicians in his full capacity Uptown Jazz Orchestra represent a collection of sparking gems who carry on and extend this city’s traditions and, importantly, have fun doing just that.
It starts out joyously on a Marsalis original, “Sidewalk Sizzle,” a funky number that he offers as a tribute to the mighty Meters. The big band, some of whose members move in and out on various tunes, sets the groove with Delfeayo taking the first slinky lead.
Everyone in the orchestra flows in unison through an ever-changing stylistic and rhythmic program. These musicians know each other and their affable leader. Another number from Marsalis’ pen “Basie Moods” finds the solid ensemble swinging with sharp interjections by Andrew Baham‘s trumpet.
For those who like their jazz with Latin and romantic tinges comes an album highlight, “El Ultimo Cafe.” It opens with big brother Branford Marsalis blowing heart-piercing, sky-reaching, beautifully-executed tones on soprano saxophone paired with the magnificent Victor Campbell on piano. Delfeayo continues the tune’s Argentinian flavor before Campbell takes the spotlight. The siblings’ horns soon weave together in a tender tango. Branford—this time on tenor—and Campbell return to a modern, American urban jazz setting on saxophone great Joe Henderson’s go get ’em “Inner Urge.”
Vocalist Tonya Boyd-Cannon plays a major role standing front and center throughout the album. Her range, especially the richness of her low tones, and sincere delivery are perhaps best displayed on the jazz classic “’Round Midnight.”
In New Orleans—more than most places in the country and world—musicians travel seamlessly from genre to genre. Crescent City Jewels, which includes selections as diverse as “Basin Street Blues,” “Ooh Poo Pah Doo” and “I Wish I Knew How It Would Feel to be Free” well represents New Orleans’ uplifting, all-for-one state of mind.
from  www.offbeat.com

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	New Orleans enjoys any number of unique, robust aspects of life that can be considered its jewels, or precious stones. As the birthplace of jazz, its singular musical culture—being so closely linked to the African diaspora—is regaled around the world. On trombonist and bandleader Delfeayo Marsalis latest release, Crescent City Jewels, the musicians in his full capacity Uptown Jazz Orchestra represent a collection of sparking gems who carry on and extend this city’s traditions and, importantly, have fun doing just that. It starts out joyously on a Marsalis original, “Sidewalk Sizzle,” a funky number that he offers as a tribute to the mighty Meters. The big band, some of whose members move in and out on various tunes, sets the groove with Delfeayo taking the first slinky lead. Everyone in the orchestra flows in unison through an ever-changing stylistic and rhythmic program. These musicians know each other and their affable leader. Another number from Marsalis’ pen “Basie Moods” finds the solid ensemble swinging with sharp interjections by Andrew Baham‘s trumpet. For those who like their jazz with Latin and romantic tinges comes an album highlight, “El Ultimo Cafe.” It opens with big brother Branford Marsalis blowing heart-piercing, sky-reaching, beautifully-executed tones on soprano saxophone paired with the magnificent Victor Campbell on piano. Delfeayo continues the tune’s Argentinian flavor before Campbell takes the spotlight. The siblings’ horns soon weave together in a tender tango. Branford—this time on tenor—and Campbell return to a modern, American urban jazz setting on saxophone great Joe Henderson’s go get ’em “Inner Urge.” Vocalist Tonya Boyd-Cannon plays a major role standing front and center throughout the album. Her range, especially the richness of her low tones, and sincere delivery are perhaps best displayed on the jazz classic “’Round Midnight.” In New Orleans—more than most places in the country and world—musicians travel seamlessly from genre to genre. Crescent City Jewels, which includes selections as diverse as “Basin Street Blues,” “Ooh Poo Pah Doo” and “I Wish I Knew How It Would Feel to be Free” well represents New Orleans’ uplifting, all-for-one state of mind. from www.offbeat.com