At first, the release of these three discs appeared to be an exercise in excessiveness. After all, Marsalis’ Standard Time Vol. 2: Intimacy Calling came out this year. However, after repeated listenings, the cohesiveness of this collection becomes apparent. Soul Gestures in Southern Blue is presented as a “Blues Cycle.” This is not just a collection of blues jams, but a serious study of manipulation of the blues form. Even though the technical abilities of the musicians involved are quite impressive, slow and medium tempos dominate the set. But don’t let that scare you off, because this music swings with a vengeance. The solos, particularly those of Marsalis and Marcus Roberts, have a strong focus and clarity.

Saxophonists Todd Williams and Wessell Anderson play with authority throughout the Uptown Ruler and Levee Low Moan volumes. Volume One should be a special treat for serious jazz fans since it features Joe Henderson and Elvin Jones. Jones, who should be familiar to anyone who has seriously listened to John Coltrane, played on two cuts, “Elveen” and “L.C. on the Cut.” Henderson appears on every cut and is, as usual, remarkable (wouldn’t it be nice if Henderson could release something under his name for a change?). The music seems to be an extension of what Marsalis was doing on his Majesty of the Blues album. One of the main criticisms of his work is that he is not innovative enough. However, recordings such as Soul Gestures in Southern Blue show that his diligence in studying the music of Duke Ellington, Jelly Roll Morton and Louis Armstrong has paid off.