Here they are, the massed Marsali, in concert (augmented by patriarch Ellis's most famous protégé, the popular vocalist-pianist Harry Connick Jr), gathered at the John F. Kennedy Center in Washington to honour their dad. Surprisingly (although nothing should surprise you about this family) the opening ‘Donna Lee’ has Jason whistling at jet speed in unison with a muted Wynton, the kicking drums by Riley. Jason's solo, of startling quality follows that of his brother, the two trading breaks of ever-increasing complexity before they take things out. Phew! If that's not enough, the multi-talented Jason's on vibes for the neatly complex ‘Monkey Puzzle’ before displacing Riley at the drums for ‘Syndrome‘, the latter an original by Ellis. I guess you could say the family that plays together stays together. Interspersed are brief spoken tributes from Branford and Wynton and a funny one from Connick, the non-musical Ellis Marsalis III reading a poem about their father. Branford is forthright on ‘Puzzle’, spacious and lucid, Wynton sitting out, the stalwart Revis anchoring things superbly ahead of Ellis' bright solo. He plays his own 'After’ as a solo piece, quietly swinging and solemn; for ‘Syndrome’ Delfeayo augments the quintet, the mood Messenger-like with a lyrical Wynton solo, before Connick and Ellis do a quirky two-piano version of ‘Sweet Georgia Brown’. Connick stays on for the spiky ensemble examination of Monk's ‘Teo’. Everything here reeks of quality, the setting, the music and the intended destination for the proceeds from this album, that of funding the Ellis Marsalis Center for Music in New Orleans; happily the veteran Ellis more than holds his own with his talented progeny. It's wholly fitting that the concert ends with the rousing ‘Second Line’. Ovations all round, and rightly so.