"The whole point is, give me a break with the standards. You go to the average jazz label and suggest a record and they want to know which standards you're going to play. I'm saying let's break the formula"
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Branford Marsalis isn’t politely asking for artistic “freedom” here; he’s calling out a whole micro-economy of safety. “Give me a break with the standards” lands like an eye-roll aimed at the machinery around jazz, where nostalgia isn’t just a taste but a business model. Standards are the agreed-upon currency: familiar songbooks that reassure labels, critics, and older audiences that the product will be legible, reviewable, and, most importantly, sellable. Marsalis’s irritation is less with the tunes themselves than with the expectation that legitimacy must be proved by dutifully reciting them.
The context matters: by the late 20th century, jazz had largely shifted from mainstream pop space into an institution - festivals, arts centers, conservatories, and boutique labels. Institutions love repeatable formats. A “record with standards” is an easy pitch and an easy shelf. Marsalis is exposing how that pressure quietly narrows the music’s public imagination. The subtext: if the gatekeepers only greenlight what they already recognize, jazz becomes a museum exhibit with excellent lighting.
“Let’s break the formula” is also a statement about power. Who gets to define “jazz” - the musicians making it now, or the curators selling a version of its past? Coming from Marsalis, a player often associated with tradition, the provocation cuts sharper: even the so-called traditionalists resent being forced into ritual. He’s defending jazz not as a repertoire, but as a practice: risk, argument, surprise, and the right to fail out loud.
The context matters: by the late 20th century, jazz had largely shifted from mainstream pop space into an institution - festivals, arts centers, conservatories, and boutique labels. Institutions love repeatable formats. A “record with standards” is an easy pitch and an easy shelf. Marsalis is exposing how that pressure quietly narrows the music’s public imagination. The subtext: if the gatekeepers only greenlight what they already recognize, jazz becomes a museum exhibit with excellent lighting.
“Let’s break the formula” is also a statement about power. Who gets to define “jazz” - the musicians making it now, or the curators selling a version of its past? Coming from Marsalis, a player often associated with tradition, the provocation cuts sharper: even the so-called traditionalists resent being forced into ritual. He’s defending jazz not as a repertoire, but as a practice: risk, argument, surprise, and the right to fail out loud.
Quote Details
| Topic | Music |
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