Release date: 04-11-2000 (originally released in 1982)

2000 colubia 9-track vinyl lp reissue edition-Dr. George Butler, like any major-label producer, was always on the lookout for a gimmick to market a recording, so the idea of having a record side each devoted to bands featuring fathers with their sons had some obvious appeal. Side one of this early-'80s Columbia LP features pianist Ellis Marsalis with sons Branford and Wynton playing four of the leader's originals plus one standard.-

Tracks:
01. Twelve's It
02. A Joy forever
03. Nostaligic Impressions
04. Futuristic
05. Lush Life
06. Jug Ain't Gone
07. Time Marchces On
08. I Can't Get Started
09. Tribute To Our Fathers
Dr. George Butler, like any major-label producer, was always on the lookout for a gimmick to market a recording, so the idea of having a record side each devoted to bands featuring fathers with their sons had some obvious appeal. Side one of this early-'80s Columbia LP features pianist Ellis Marsalis with sons Branford and Wynton playing four of the leader's originals plus one standard. Bassist Charles Fambrough and drummer James Black round out the quintet. While it is apparent that the family has played together, the originals aren't really all that interesting, even though some of the solos are. The sons sit out the senior Marsalis' trio interpretation of "Lush Life," which ends up being the highlight of this session. The second side of the disc features tenor saxophonist Von Freeman, with his son Chico joining him on tenor as well, backed by a strong rhythm section including Kenny Barron, Cecil McBee, and Jack DeJohnette. The younger reed player acquits himself well with the older musicians, especially in his original "Tribute to Our Fathers," in which he convincingly displays his chops. The senior Freeman pulls no punches in his two originals, though it is his passionate interpretation of the standard "I Can't Get Started" that leaves the most lasting impression. ~ Ken Dryden

The most famous jazz musician since 1980, Wynton Marsalis made a major impact on jazz almost from the start. In the early '80s, it was major news that a young and very talented black musician would choose to make a living playing acoustic jazz rather than fusion, funk, or R&B. Marsalis' arrival on the scene started the "Young Lions" movement and resulted in major labels (most of whom had shown no interest in jazz during the previous decade) suddenly signing and promoting young players. There had been a major shortage of new trumpeters since 1970, but Marsalis' sudden prominence inspired an entire new crop of brass players. The music of the mid-'60s Miles Davis Quintet had been somewhat overshadowed when it was new, but Marsalis' Quintet focused on extending the group's legacy and soon other "Young Lion" units were using Davis' late acoustic work as their starting point.
During his career, Wynton Marsalis has managed to be a controversial figure despite his obvious abilities. His selective knowledge of jazz history (considering post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren) is unfortunately influenced by the somewhat eccentric beliefs of Stanley Crouch, and his hiring policies as musical director of the Lincoln Center Jazz Orchestra led to exaggerated charges of ageism and racism from local writers. However, more than balancing all of this out is Marsalis' inspiring work with youngsters, many of whom he has introduced to jazz; a few young musicians, such as Roy Hargrove, have been directly helped by Marsalis