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Garrett’s next major label albums would be very fine, but the real place to hear Garrett is on a good night in the club, when he’s on fire and proving that he is absolutely in the lineage of greatest jazz altoists. Roberts was one of the most distinctive players of the whole era.His first album is a manifesto more stern than any Marsalis disc up until that point.Ornette is Wynton’s token “avant-garde” musician, since Ornette inarguably always sounds like the blues.But it is impossible to assess Ornette without Haden: indeed, the finest and most innovative interpreters of the Coleman style, Keith Jarrett and Pat Metheny, have never really done Coleman-inspired music without Haden present.The absence of Haden, Jarrett, and Metheny—all white, of course—from the Marsalis world-view is one of Wynton’s greatest weaknesses.(Wynton does repeatedly credit Don Cherry as an influence, and reportedly can play along with Cherry solos from is a fine introduction to the great strength of Branford Marsalis, which is a determination to take the general model of Sonny Rollins and push it into a whole new level of harmonic and rhythmic modernity.The white jazz or jazz-connected musicians Wynton praises (and, in some cases, apologizes to for having dissed in the past) in include Paul Desmond, Gene Krupa, Bill Evans, Jean Goldkette, Frankie Trumbauer, Bix Beiderbecke, Bill Challis, Mike Pellera, Ricky Sebastian, Alvin Young, Dave Brubeck, Benny Goodman, Jimmy Mc Partland, Dave Tough, Bud Freeman, Art Hodes, Woody Herman, Gil Evans, Zoot Sims, Gil Evans, George Gershwin, Stan Getz, Gerry Mulligan, and Phil Woods.However, it is noticeable that whenever Ornette Coleman is mentioned, the name Charlie Haden is not included.
He is like jazz aspirin: take two once in a while to remind yourself of the basics.This attitude is easy to understand: these musicians all grew up feeling the sharp end of American racism.