OK, I've traced where I got the photo, it's from the Newport Jazz Festival 2004, featuring brass from the The Jazz Messengers, presumably a descendant of the Art Blakey (d.1990) band.

The band in 2004 was Cedar Walton (piano), Roy Hargrove (tr), Steve Turre (tb), Donald Harrison(saxes), Bobby Watson (saxes), Peter Washington (string bass), Lewis Nash (dr).

The full size photo is here and features trumpet, trombone and 2 tenor saxes.

left to right Roy Hargrove-Steve Turre-Bobby Watson-Donald Harrison

We have interesting events in Ireland. Dublin has vibrant Jazz community musicians and even here there are some. This is a Jazz cellar here.

We have different kind of jazz and even youth jazz.
There is a festival in October here.
I am picking up some interest in Jazz very gradually because I am too busy.
This board is jazz less active and people that love jazz may come later on board.

I find the folk talking on radio 3 about jazz know more about jazz than online people.

That is right, Burning dog.
Some people cann't understand Bach and get to him when they are 100 years old.
With me it is Jazz. I am beginning to get it (I am not 100 years old).
My students efforts and my williness to listen are starting to pay off.

John,
It was so funny. I did not expect it. I got into the concerto and thought who ever is playing it doing it very well. And then all the sudden I heard something else.
I loved it. I never thought I would say that.
May be even a year ago I would be disgusted Amazing what a year can do to you.

Thank you very much for posting. I even subscribed to Naxos (for free now, but I will change later).

In other words, Marsalis is rather like a lot of classical musicians?


Is there any evidence he is succeeding in doing this, though? Do his Lincoln Center concerts bring in large black audiences, who view them in such a manner?

wynton marsalis is undoubtedly a major jazz talent, listen to his live recordings in smaller ensembles and he will blow you away. There is an especially fine Herbie Hancock Quartet cd on columbia on which WM's playing is sublime.

his persistent, challenging and successful promotion of jazz as an African American art form is both welcome and will have a lasting potive impact. simply he has put the music in a cultural space where it will continue to be recognised as a major accomplishment. he also takes the music to places it has not been before, even if these are elitist serious music venues.

he is a person with a fluent readiness to express his views in clear terms.

that he is not universally liked or respected is sadly inevitable. but he is american, and uses american means to win his cause. as far as i know he is not a cocaine addict, wife beater or alcoholic; but he may well enjoy the sharp suits and luxury cars that signal success in such a society, as did Miles Davis.

he is not an innovator; but an improver and consolidator and certainly wants to establish a jazz canon. what is the evidence that he seeks to stifle anything? he may call it as he sees it from a perspective of traditional excellence and be unsympathetic to avant garde innovations that wilfully disrespect tradition. but how exactly does he obstruct or stifle it? he is not all that jazz needs, but he is something that it needs! warts and all.