Delfeayo Marsalis & the Stanford Jazz Workshop Sextet
Harvey Wainapel, saxophones, bass clarinet; Delfeayo Marsalis, trombone;
Phil Grenadier, trumpet; Randy Porter, piano; John Wiitala, bass; Bill
Wednesday, August 6 | 8 pm | Dinkelspiel Auditorium
Tickets: $32 general | $16 students
By phone: 650.725.ARTS (2787); In Person: Stanford
For more information, go to our Ticketing
“…there's another Marsalis who may be on
the verge of attaining wide recognition: trombonist Delfeayo, (who) ranks
among the more accomplished jazz instrumentalists today...lacing particular
emphasis on swing rhythm and robust-but-accessible solos.” – Chicago
From New Orleans, trombonist Delfeayo Marsalis is
the third youngest member of the renowned Marsalis family. A graduate
of the New Orleans Center for the Creative Arts as well as Berklee College
of Music, Delfeayo first established himself as a producer, working with
artists such as Terence Blanchard, Harry Connick Jr. and Nicholas Payton
(as well as brothers Branford & Wynton). As an instrumentalist and
session player, he earned numerous credits recording and touring with
Art Blakey, Elvin Jones, Slide Hampton & Max Roach, and his compositions
have been featured in television, film and theatrical productions. A
frequent clinician and lecturer, he founded the Uptown Music Theatre
in 1997 to provide 8-12th grade youth with training and performance opportunities.
Most recently, Marsalis led a tribute to Louis Armstrong at the Minnesota
Orchestra Hall that included new arrangements written by Delfeayo,
as well as performances of Armstrong’s own charts. Marsalis’ Stanford
Jazz concert program will be a mix of mainstream jazz and standards,
augmented by original songs contributed by several members of the ensemble.
Marsalis web site
Q&A with Delfeayo Marsalis
What is the first recording you remember hearing as a child?
J.J. Johnson – “Proof Positive.”
Who is your favorite jazz musician under the age of 30?
What job would you have if you weren’t
a jazz musician?
What’s the strangest experience you’ve
ever had on the bandstand?
A guy came into the club a few months ago inebriated and wanted
to spout political rhetoric. He tried several times to grab a microphone
while we were playing and continually fell on his arse. Finally,
he grabbed the mic, fell back, hit his head on the bar, and broke his
glasses; to which our drummer Herlin Riley directed, “Knock yourself
What’s your favorite food?
What’s the most exotic place you’ve
traveled to as a musician?
What’s the last book you’ve
The Souls of Black Folk-W.E.B. DuBois
If you could play with any other musician, living or dead
(with whom you have not played), who would it be and why?
Charlie Parker. All the older musicians said he was the one.
What’s your favorite tune?
“What A Wonderful
What’s your favorite thing
about being a Stanford Jazz Workshop faculty member?
Hanging with Barry Harris.
What’s your favorite jazz venue?
Blue Note – NYC
Who is your greatest musical influence?
If you were stranded on a desert island and could only have
three recordings with you, what would they be?
The Ellis Marsalis Trio; “Black Codes from the Underground” (Wynton
Marsalis) & “Bloomington” (Branford Marsalis).
How much do you practice each week?
Depends on what is required.
What hobbies do you have?
If you could be any other type of artist other than a jazz musician,
what would you be and why?
Writer. Expressive creativity.
Do you have a favorite music-related joke (that can be told in
The orchestra hired a trumpeter to play a concert. He made all the
rehearsals on time and read the music with no trouble. During the
concert, one of the movements said tacet. When the lush strings
began to play he stood up and played his best bebop riffs and
lines until the orchestra came to an unceremoniuos halt. The conductor
folded his arms and looked disapprovingly. The trumpeter
said innocently, “What? My part says take it!”
When did you become interested in music, and what circumstances
or events led to your becoming a professional musician?
Sixth grade. The music teacher introduced all the instruments and
trombone looked like the one nobody would play.
If you were to describe your music
as a color, what color would it be and why?
Red. From red many shades are possible.