The Marsalis Family stands as a monumental force in American jazz, often hailed as the “first family of jazz.” This New Orleans-based dynasty, spearheaded by patriarch Ellis Marsalis and his sons Branford, Wynton, Delfeayo, and Jason, has profoundly shaped the landscape of jazz music from the late 20th century into the 21st. Their collective impact, particularly through the influential careers of Wynton and Branford, resonates deeply within the genre and beyond.
Ellis Marsalis Jr. (1934-2020), the family’s cornerstone, initially navigated the music scene as a tenor saxophonist before dedicating himself to the piano during his high school years. After graduating with a music degree from Dillard University and serving in the U.S. Marines, Ellis’s early career included work with the AFO record label in the late 1950s and collaborations with jazz luminaries like Nat and Julian “Cannonball” Adderley in 1962. He also served as trumpeter Al Hirt’s pianist from 1967 to 1970. However, Ellis Marsalis’s most enduring contribution lies in his role as a jazz educator.
Ellis Marsalis at the piano, legendary jazz educator and patriarch of the Marsalis family
In 1974, he commenced teaching at the New Orleans Center for Creative Arts (NOCCA), nurturing talents such as Harry Connick, Jr., Terence Blanchard, Donald Harrison, Nicholas Payton, and Kent and Marlon Jordan, alongside his own six sons, four of whom rose to prominence as celebrated musicians. The widespread acclaim of his sons propelled Ellis Marsalis into the spotlight in the 1980s, leading to a consistent recording career and cementing his legacy as not only a skilled musician but also a pivotal figure in jazz education.
Wynton Marsalis, the most globally recognized member of the marsalis family, first garnered national attention with his exceptional trumpet skills. Gifted his first trumpet by Al Hirt, Wynton pursued rigorous training in both classical music and jazz. His early musical experiences ranged from playing with Danny Barker’s Fairview Baptist Church Band to soloing with the New Orleans Philharmonic at the young age of 14. Despite his jazz inclinations, his initial professional engagements were largely in rhythm and blues (R&B) and funk ensembles. A transformative period at the Berkshire Music Center ignited his unwavering commitment to jazz. He further honed his craft at the Juilliard School (1979–81), where he quickly distinguished himself as an exceptionally gifted musician.
At just 19, Wynton Marsalis joined Art Blakey’s Jazz Messengers, showcasing an early influence from trumpeter Freddie Hubbard. He soon began to emulate the iconic sound of Miles Davis and toured with former Davis sideman Herbie Hancock in 1982–83 before briefly rejoining Blakey. By the age of 20, Wynton was already the subject of fervent discussion within the jazz community. His remarkable technique, dedication to acoustic jazz, and proficiency in both jazz and classical music – evidenced by Grammy Awards in both genres in 1984 – generated significant media attention. He became an emblematic figure of the “Young Lions,” a movement of emerging musicians revitalizing the hard bop tradition and ensuring the continued vitality of acoustic jazz in a contemporary musical landscape.
From 1982 to 1985, Wynton led a quintet featuring his brother Branford. Later iterations of his ensembles included pianist Marcus Roberts and expanded into a septet, providing an ideal platform for Wynton’s evolving playing and compositional ambitions. In 1987, Wynton co-founded Jazz at Lincoln Center and assumed leadership of the Lincoln Center Jazz Orchestra, a pivotal institution dedicated to the preservation and performance of jazz music. This role, while solidifying his influence, also positioned him as a figure of debate due to his staunch advocacy for traditional jazz forms and his critical stance on post-1965 musical developments. Despite the controversies, Wynton’s distinctive style, developed in the late 1980s, consistently placed him among the foremost trumpeters in jazz history, adeptly performing across the spectrum of jazz styles, from New Orleans jazz and swing to hard bop. His extensive body of work in the 1990s included large-scale compositions like Blood on the Fields, which earned him the Pulitzer Prize for music in 1997, extensive global tours, and a prominent role as a spokesperson for jazz and music education.
Wynton Marsalis also collaborated extensively with documentary filmmaker Ken Burns, notably on the acclaimed 2001 miniseries Jazz. Further collaborations with Burns include composing music for Unforgivable Blackness: The Rise and Fall of Jack Johnson (2004) and contributing soundtracks to the miniseries The War (2007) and Prohibition (2011). His prolific output continues with ongoing performances and recordings, both with his ensembles and in collaboration with diverse artists such as Willie Nelson and Eric Clapton. His literary contributions include Moving to Higher Ground: How Jazz Can Change Your Life (2008), co-authored with Geoffrey Ward. Wynton’s contributions to American culture have been recognized with the National Medal of Arts in 2005 and the National Humanities Medal in 2015, solidifying his status as a cultural icon.
Branford Marsalis, initially proficient in soprano, alto, and tenor saxophone, focused primarily on tenor and soprano saxophones after the 1980s. Like Wynton, Branford received early musical training from his father at the New Orleans Center for Creative Arts. He continued his formal education at Southern University in Baton Rouge, Louisiana, and Berklee College of Music in Boston. His early professional experiences included playing with the Art Blakey Big Band in 1980 and performing with jazz legends Lionel Hampton and Clark Terry, before joining Wynton in Art Blakey’s Jazz Messengers from 1981 to 1982. Branford played a crucial role in Wynton’s quintet from 1982 to 1985, while also recording with Miles Davis and Dizzy Gillespie and touring with Herbie Hancock. A notable divergence occurred in 1985 when Branford joined pop singer Sting’s band, leading to a temporary rift with Wynton, though the brothers later reconciled, underscoring the strong family bonds within the marsalis family.
A versatile saxophonist capable of channeling a wide range of influences, including John Coltrane, Sonny Rollins, and Jan Garbarek, Branford Marsalis has primarily led his own groups since 1986. These include a quartet featuring pianist Kenny Kirkland and Buckshot LeFonque, a hip-hop influenced ensemble formed in the mid-1990s, demonstrating his willingness to explore diverse musical territories. Branford’s diverse career extends beyond performance to include soundtrack recordings, acting roles, serving as the musical director of The Tonight Show (1992–95), numerous guest appearances on recordings, and work as a talent scout and record producer for Sony. He also held a regular position as a radio host on National Public Radio, further expanding his reach beyond the traditional jazz audience. While demonstrating a greater openness to contemporary music than Wynton, Branford remains a highly accomplished player deeply rooted in traditional jazz styles. In 2002, Branford established his own record label, Marsalis Music, and continues to maintain an active schedule of recording and touring, solidifying his position as a leading voice in contemporary jazz.
Delfeayo Marsalis, while perhaps less publicly prominent than Wynton and Branford, has forged a significant career as a trombonist, drawing inspiration from J.J. Johnson. He pursued studies in music, producing, and engineering at Berklee College of Music. Delfeayo initially established his reputation as a record producer starting in 1985, contributing to numerous jazz recordings. As a trombonist, he has collaborated with an array of artists including Ray Charles, Art Blakey, Abdullah Ibrahim, and notably Elvin Jones. He made his debut as a leader in 1992 and in 2016 began performing and recording with his Uptown Jazz Orchestra, further showcasing his talents as both a performer and bandleader within the New Orleans jazz tradition.
Jason Marsalis, the youngest of the marsalis family, made an early impact as a drummer at the age of 14 on Delfeayo’s recordings. Influenced by New Orleans rhythms and the drumming of Tony Williams, Jason co-led the band Los Hombres Calientes in the late 1990s and also recorded with Marcus Roberts, Marcus Printup, and his father Ellis. In 2001, he formed his own quintet, and in 2009, he released the first in a series of acclaimed albums showcasing his skills on the vibraphone, revealing his versatility and expanding his instrumental palette beyond drums.
The collective achievements of the marsalis family were formally recognized in 2011 when all five members were named Jazz Masters by the National Endowment for the Arts (NEA). This prestigious honor underscores the marsalis family’s unparalleled contribution to jazz music, solidifying their legacy as not just individual talents, but as a unified family force that has shaped, enriched, and propelled jazz into new eras, ensuring its continued relevance and appreciation worldwide.
