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Wynton Marsalis had already shed the strictures of the early influences on his playing, and proven he could write extended conceptual pieces, on his early masterpiece, The Majesty of the Blues, by the time of this 1992 release. Blue Interlude still represented a quantum leap for the fast-evolving composer and trumpeter. Like the jazz master who'd become his greatest inspiration, Duke Ellington, Marsalis was writing with his whole septet in mind at this point, prefiguring the epic effort of Blood on the Fields. The nearly 40-minute long title track ranges from traditional New Orleans jazz through gutbucket blues and Ellingtonia into bop and beyond without ever losing its digressive thread. Reed player Todd Williams also weighs in with a serious compositon, "The Jubilee Suite."

“With Wynton Marsalis, exuberance, energy and high-level musicianship is never an issue, but long-windedness can be. This may be one of the best of the trumpeter's mid-sized ensembles, a septet, with pianist Marcus Roberts, trombonist Wycliffe Gordon, saxophonists Wessell Anderson and Todd Williams, bassist Reginald Veal, and drummer Herlin Riley. It is also to the credit of Marsalis that he allows solid group interplay, and much room for his sidemen to not only stretch, but to also include their written works in the repertoire. The problem is for the listener, as the bulk of this material lays in long form, and is more a test for the band's stamina than the pleasure of the beholder. It works in concert, but not on the radio or at home. The 37-plus-minute title track, a grandiose treatise on bittersweet romance, is the most egregious with lengthy solos, tight but verbose ensemble sections, up-and-down dynamics, and rhythmic variations. "The Jubilee Suite" is only 12 minutes, and much more concise, echoing anthemic clarion calls, a hip modern New Orleans groove, and features for the clarinet of Williams and Marsalis. "And the Band Played On" is a processional march, and "Brother Veal" exudes a warm feeling marinated in easy swing, with the clarinet of Williams again a focal point. The last piece, "Sometimes It Goes Like That," is the most complex melody, using the typical variable tempo and melodic devices that make a Marsalis jazz tune fairly recognizable. The cover art and title might indicate this was a blue interlude in the personal life of Marsalis translated into music (and words on the indulgent "Monologue" prelude to the title cut) and self-consciously rendered. It's fine music, but not particularly unique or original.

Tracklist:

01. Brother Veal
02. Monologue For Sugar Cane And Sweetie Pie
03. Blue Interlude
04. And The Band Played On
05. The Jubilee Suite
06. Sometimes It Goes Like That

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Wynton Marsalis Septet - Blue Interlude (1992)