Note absence of the word jazz in the title. One could argue that, although he is an embodiment of the genre, or a certain strain thereof, Wynton Maralis is an essential exponent of American music. Which means that his deep roots in New Orleans swing should not overshadow the fact that he is a skilled symphonic player who is also at home in the world of chamber music. This two-CD compilation makes that as clear as a high C note popped out by either the leader or an extremely able horn section whose various members – Printup, Gordon, Gunn – are all accomplished leaders in their own right. Covering a decade's worth of material, the selections are also a reminder that Marsalis the soloist is only one part of his artistic persona. Marsalis the composer and conductor count too. With that in mind the eight minutes of dizzyingly polymorphous activity of violins, viola and cello heard on ‘Hellbound Highball’ from At The Octoroon Balls – String Quartet No.1 is possibly as, if not more, significant than the more well known works such as In ‘The Sweet Embrace Of Life’ or ‘The Caboose’. The musical vocabulary that underpins the latter compositions is largely drawn from Ellington and it could be said that Marsalis has succeeded in skilfully cooking the Duke's basic ingredients – the contrapuntal weave; the blend of dark and light timbres; the melodic grandeur and quirkiness – with his own idiosyncrasies. Sometimes they're actually very simple. The half time child-like clapping rhythm of ‘Sunfl owers’ is a brilliant example of this. It gives the whole piece an airiness and optimism that are enhanced by the majesty of the horn playing and the astute shifts in texture.