Branford Marsalis records ‘The Beautyful Ones Are Not Yet Born’ with Jeff ‘Tain’ Watts and Robert Hurs (1991)

Branford Marsalis‘ ‘The Beautyful Ones Are Not Yet Born’ is an album recorded with Jeff ‘Tain’ Watts and Robert Hurs on May 16-18 and June 24, 1991 and released in October 1991 By Sony Music.

Track Listing : 1.Roused About (Robert Hurst) – 08:08 . 2.The Beautyful Ones Are Not Yet Born (Branford Marsalis) – 13:42 . 3.Xavier’S Lair (Branford Marsalis) – 08:54 . 4.Cain & Abel (Branford Marsalis) – 07:34 . 5.Citizen Tain (Branford Marsalis) – 08:04 . 6.Gilligan’S Isle (Branford Marsalis) – 10:45 . 7.Dewey Baby (Branford Marsalis) – 09:08 . 8.Beat’S Remark (Robert Hurst) – 12:47

Musicians : Branford Marsalis – Saxophones . Jeff “Tain” Watts – Drums . Robert Hurst – Bass . Wynton Marsalis – Trumpet On (4) . Courtney Pine – Tenor Saxophone On (7)

Production : Produced By Delfeayo Marsalis Gordon Davies – Assistant Engineer . Jose Fernandez – Assistant Engineer . Patrick Smith – Engineer, Mixing . Mark Wilder – Editing, Mastering . Keith Risinger – Mixing . Meean-Cheem Ustoo – Editing

Package : Arnold Levine – Art Direction . Delfeayo Marsalis – Liner Notes . Chip Simons – Photography . Patrick Smith – Liner Notes

Recorded May 16-18, 1991 At Cts Studio A, Wembley, England, And June 24, 1991 At Rca Studio B In New York, New York..

Released In October 1991 By Sony Music.

(Source Official Site)

Branford Marsalis

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Offbeat
However, the high point of the album is Marsalis’ composition, “Dewey Baby,” which features a tenor battle between Marsalis and Courtney Pine. Pine and Marsalis engage in exchanges reminiscent of John Coltrane and Pharaoh Sanders in the ’60s. […]

Jazz.com
On this long, slow blues meditation, Branford and his cohorts paint a modern-day abstraction employing the Coltrane palette of colors. The searching and mournful introductory section is both prequel and extension of A Love Supreme. […]

zzzzotttt @ rateyourmusic.com
There’s no piano on this album, forcing the saxophone and bass to take up the slack, and freeing it from the tinkly, liberacean technique-over-taste “cocktail piano” that mars a lot of trad-jazz albums. […]

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