Wynton Marsalis and Bryan Stevenson on the Value of Art and Identity

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On May 19, 2020, Wynton Marsalis sat down for a wide-ranging virtual conversation with Bryan Stevenson of the Equal Justice Initiative to discuss the value of art in understanding the identity of our country. Stevenson specifically delves into the #BlackExcellence that inspires him to honor the resilience of Black artists such as Mahalia Jackson, Dizzy Gillespie, and Louis Armstrong, as each endured humiliation but remained brilliant and genius.
Jazz at Lincoln Center thanks Bryan Stevenson and the Equal Justice Initiative and proudly acknowledges the support of Gregory Annenberg Weingarten, GRoW @ Annenberg.
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Пікірлер: 11

@bossmax8 3 жыл бұрын

Africa need personalities like you. Most of us call ourselves musicians but we lack a lot. It's high time we rise and get resource Africans good in music to help the younger generations to come. Nice talk Wynton🤗God bless you. I admire you a lot🤝❤

@The_Octopus 3 жыл бұрын

I don’t think people understand how important Wynton Marsalis is to real jazz. He is literally the new Godfather of jazz, the torch carrier. He tells the story of jazz from the beginnings of Louis Armstrong to the advent of BeBop with Dizzy and Charlie Parker and into legends unknown with John Coletrane and Miles Davis and everything in between and beyond. Wynton Marsalis is the great storyteller of Jazz. He should be appreciated and respected for everything he does and his vast knowledge of the truly American art form known as Jazz!

@ArielBerdugo 3 жыл бұрын

The Professor.

@pietrusabalardus1881 3 жыл бұрын

If Wynton Marsalis makes people feel better about themselves, their neighbor, or this nutty place we live in, then I’m behind him. Although the grapevine carries some weird stories about his classical music playing, few would disagree that at one time he could be seen as the finest concert trumpeter in the world. I remember the first time by I heard him play, I thought, WHO is that? You can tell a player by his sound and he was one of very few truly great players and I had no idea from the sound who he was (of course, to satisfy the pronoun nuttiness, it could just as easily have been a woman). But Wynton, it turned out, did not want to be a “white” trumpet player, so he gave up being the greatest classical trumpet player in the world. I think because he increasingly was having technical problems because of the way he plays so low on his upper lip and classical requires more practice time. Moreover, he was on a crusade to bring “our” music to the acceptance by the white cultural world. He wanted to be the Leonard Bernstein of jazz education and, oddly enough, carry on the mission of Paul Whiteman. The fact is that Mr. Marsalis has ended up, in order to draw in the moneyed culture crowd at Lincoln center, he has had to call some music jazz that is not jazz, it’s big-band music or pop music or other things. That’s OK. If it’s workable music, it doesn’t matter what you call it. But when you put it in a cultural museum and call it jazz, it’s misleading. What bothers me is that he gave up being the greatest of one kind to be mediocre in another kind. Marsalis is just not a great jazz player. The Lincoln center orchestra is a studio band that doesn’t really swing. And the whole thing reminds me of a respectful wake for someone mistaken for dead. This is not whether Wynton Marsalis is a good person or not but whether what he is doing is faithful to the long and complex history of jazz. It’s great what he’s doing in Education. I’ll have