Standard Time, Vol. 6: Mr. Jelly Lord
From Wikipedia, the free encyclopedia
| Standard Time, Vol. 6: Mr. Jelly Lord | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | September 7, 1999 | |||
| Recorded | January 12–13, 1999 | |||
| Genre | Jazz | |||
| Length | 61:01 | |||
| Label | Columbia/Sony Classical | |||
| Wynton Marsalis chronology | ||||
| ||||
Standard Time, Vol. 6: Mr. Jelly Lord is an album by jazz trumpeter Wynton Marsalis that was released in 1999.[1][2] The album peaked at number 7 on the Billboard Top Jazz Albums chart.[3]
| Review scores | |
|---|---|
| Source | Rating |
| All About Jazz |  [4] |
| AllMusic |  [5] |
| The Penguin Guide to Jazz Recordings | [6] |
In a review for AllMusic, Richard S. Ginell wrote: "This is mostly gutbucket, stomping, swinging New Orleans jazz through the eyes and ears of avid students of old records -- and they have absorbed a good deal of the original raffish, joyous feeling... The results are often hilarious, and certainly instructive."[5]
The authors of The Penguin Guide to Jazz Recordings noted that "Wynton's playing has rarely sounded so relaxed and so raw," and stated: "There is no attempt to lend these astonishing compositions any false grandeur; they have quite enough as it is."[6]
C. Michael Bailey of All About Jazz commented: "Marsalis is an acquired taste, to be sure, often coming off as too reverent for the music, but this recording is as near a perfect and genuinely heartfelt a performance as could be expected."[4]
Writing for Jazz Times, Willard Jenkins remarked: "the band does not address Jelly’s music as period pieces, but on Wynton's own terms; not as deconstructionist, but as reverent update. Hewing to the tradition of this music, while giving it a contemporary polish is no small feat, yet it is accomplished here with aplomb."[7]
Writing for Burning Ambulance, Phil Freeman stated: "As an album, Mr. Jelly Lord is a lot of fun. The band is clearly having a blast digging into these tunes, with Riley setting up a stomping, clashing parade rhythm and the horns engaging in raucous polyphony and call-and-response. Marsalis is often at his best when growling through a plunger mute, and his interaction with trombonist Gordon is terrific throughout."[8]
