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In June of last year, Marsalis and Calderazzo released Songs of Mirth and Melancholy, a duo CD on the saxophonist's Marsalis Music label. This tour essentially is a followup to that recording, which received favorable reviews such as this one from Jazz Times' Jeff Tamarkin and this one from AllAboutJazz.com's Mark F. Turner.
However, although Marsalis and Calderazzo have worked together in the former's quartet for nearly 14 years now, their duo project is new enough that there's not much video documentation of it online. They did make a series of promotional clips, featuring interview footage and some audio excerpts, in conjunction with the release of Mirth and Melancholy, and you can see the first of those, Inspirations and Methods," in the embedded window up above.
Two more of those promo clips, Focus on What the Song Requires" and Playing Together is Enough Inspiration" can be seen down below. (A fourth clip, about the material selected for the album, already was featured in this space as part of the recent winter/spring 2012 jazz preview.)
Performance clips from the duo's concerts to date seem mostly limited to short snippets of a minute or two, but there is one full length performance online of a song from the CD, a version of Hope" recorded in 2010 at the Detroit Jazz Festival. (The gig was actually a show for Marsalis's quartet, but although bassist Eric Revis and drummer Justin Faulkner are present on stage, their contributions to Hope" are brief and limited to some discreet swells under Calderazzo's piano.) You can find Hope" in the fourth window, and to round things out, there's an audio-only clip of another piece from the album, La Valse Kendall," in the fifth and final embed window.
For more about Branford Marsalis and additional clips of the quartet in action, see this video showcase post that ran before his last St. Louis gig in February 2010 at the Touhill.
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.