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The last song uses a guitar sample, but the rest of it is me playing. Please support Passion of the Weiss by subscribing to our Patreon. I think A Quiet Farewell was just me coming to these realizations, you know. JM: The audience is the biggest difference—and the resources. When I sat down with Marsalis last month, we sipped coffee for almost two hours as we discussed his arrival to music, his Sun Ra diss track, and his singular contribution to the critical race conversations happening today.

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All the other ones are like I admire certain technical things, but Guston — the whole history of his art practice I find to be so inspiring. Jasper Marsalis: Quite a bit, actually. Magazine Store Readytowear. JM: Yes. While Marsalis asserts that the album is genre-less, it nonetheless blends experimental jazz and hip hop production as a vehicle to critique topics within black political thought, consciousness, and existence.

He also left the overwhelming masculinity of his music community in New York and moved to LA, where he has expanded on his musical and performance project Slauson Malone 1. Photos: Paul Salveson. Could you talk about the particular concepts that inspired the album? Please take a second to donate on Patreon! Are you still reading those authors right now?

And so the concepts you were reading about, do those authors, for you, push-back or complement more traditional modes of political thought such as DuBoisian double-consciousness? Like she used to always tell me Katy Perry was gonna blow up and she did blow up. The vocal samples and drums, for instance, are freed from the confines of music theory.

A saxophonist and son of the jazz musician Art Porter Sr. Nicky [Wetherell], who plays cello, and I have learned so much just playing with each other and getting to know each other. PP: Why antagonistic? Even though you arrive at the point quicker, like you can identify what it is, the way that you feel about it can take a long time.

Jasper Marsalis: Oh, [Phillip] Guston. Phillip Pyle sat down with Jasper Marsalis before his performance opening for Kim Gordon and Sun Ra Arkestra at SummerStage in Central Park to discuss the influence space has on a performance, embracing slowness, and the forms that transfix him. JM: No, no. I started to get a real phobia of speed because I thought about futurism and its relationship with fascism.

There, he studied photography and film and played music, first clarinet but later in high school he switched to sax. While he may not have picked up the trumpet like his father, Jasper, who goes by the name Slauson Malone, is part of the music collective Standing on the Corner.