“Music is always in motion,” states Jason Marsalis, and whenever he’s behind the drum kit, the music moves with graceful swing and crackling intensity, hurtling away from the familiar into fresh, exciting territory, like a bullet train headed from New Orleans to Chicago and on to destinations unknown.
Music in Motion, Marsalis’ second recording as a leader/composer, portrays this express journey from the past and the present to the future of jazz. The fuel? High-grade, premium rhythm, of course, supplied not only by the twenty-three year old drummer, but also by his team of young engineers: John Ellis (tenor sax), Derek Douget (alto & soprano sax), Jonathan Lefcoski (piano) and Peter Harris (bass). This record taps into the rhythmic potential of all these instruments, as well as new compositional avenues created by incorporating unusual rhythms into the jazz idiom, which keeps the music chugging briskly through seventy-four minutes of sinuous original material.
The track “Maracatu de Modernizar,” for example, is “based upon a northeastern Brazilian dance rhythm put inot a modern jazz context,” says Marsalis. Similarly, the track “Seven-Ay Pocky Way” utilizes a New Orleans second-line groove in 7/4 time, but Marsalis makes a distinction between two types of second-line music: “The traditional style, composed and performed by Paul Barbarin, Jelly Roll Morton, Baby Dodds, and Louis Armstrong, and the funk based second-line of the Mardi Gras Indians, the Wild Magnolias, the Meters, and so forth. ‘Seven-Ay’ is straight out of the Wild Magnolias tradition.”