Saxophonist Branford Marsalis Is Still a Rebel, Experimenting, Taking Chances

The voice on the other end of the line--high-pitched, considered, distinguished--was that of a famous saxophonist, but it didn’t sound like the one we were calling for. Or was it?

“No, it’s me,” said Branford Marsalis, turning off the imitation. “I’ve been talking to Sonny Rollins recently and am trying to get that delivery he has. You know?”

Marsalis, whose comedic sense earned him an acting role in Spike Lee’s “School Daze” back in 1988, will be appearing Saturday at the Coach House in San Juan Capistrano.

While brother Wynton has always seemed comfortable in his role of trumpet whiz and jazz-tradition spokesman, Branford, who’s not quite a year older, has been more restless and willing to take chances with his career. After three years with Wynton’s band, he left in 1985 to record and tour with rock ‘n’ roller Sting and his film credits, in addition to “School Daze,” include “Throw Momma From the Train” with Danny DeVito and Billy Crystal.

But it’s with his saxophones that Marsalis has gained the most notoriety. His most recent album, “Trio Jeepy” (released last spring), features respected bassist Milt Hinton and includes tunes from such diverse sources as Hoagy Carmichael, Rollins and Ornette Coleman.

“I wanted to do another record before I went on tour again with Sting,” said the 29-year-old saxophonist, “because I didn’t want to be in the same position that I was in with ‘Royal Garden Blues’ (recorded in 1986) when I had to make a record in the middle of a rock tour, with my chops down. We wanted to have either Ron Carter, Ray Brown, Percy Heath or Milt (on bass). Out of all of those guys, Milt is the one that has been given the least amount of credit and press coverage. And he’s the one that started the whole thing. He’s the father of the walking bass line.”

But don’t expect to hear Marsalis fronting a trio and playing standards Saturday. “That’s an old record, man, recorded in January of 1988,” he said. “I don’t even think like that anymore.”

In a family practically marinated in the jazz tradition, Branford has always been the rebel. He played exclusively in funk bands while in high school. Drummer Marvin (Smitty) Smith, his roommate at Southern University, New Orleans, was able to drag the reluctant saxophonist to jam sessions to play be-bop tunes. But it wasn’t until he saw his brother on stage that he finally came around.

“When I was 19, I saw Wynton playing with Art Blakey in a club in Boston. It changed everything for me. I really decided I wanted to play (jazz). I saw him up on stage and said, ‘Look at him, man! That’s powerful.’ It’s a real power to be able to do something that a lot of people can’t do, whether they respect it or not. I told Wynton, ‘I saw you tonight and I’m going to practice. And he just laughed because I was a notorious nonpracticer and an avowed jazz-hater.”

After six jazz albums for Columbia (he’s also done an album of saxophone romances for the label) and stints with Art Blakey, Clark Terry and Miles Davis as well as with his brother, Marsalis can hardly be called a “jazz-hater.” But in addition to criticism from purists who cried sell-out when he worked with Sting, Marsalis has also taken heat for sounding too much like one of his influences, Wayne Shorter.

“The trouble I’ve always had with people who write is that they immediately establish their knowledge by pigeonholing you. I told them a long time ago that they were making a serious mistake by doing that stuff to me, saying I’m a (Wayne) Shorter clone. I became a clone of whoever I felt like being at the time.

“I wasn’t limited to just one guy because I’ve got really good ears and I can play like a lot of different guys. If we were playing the same type of music that we played in Wynton’s band, then you probably would hear a lot of Shorter. And on the soprano, when I play ballads, there’s definitely a lot of Wayne in there. But a lot of what I’ve learned is helping me become more me than anybody else. It’s time for my own direction now.”

The material Marsalis is preparing for his next album is what fans will hear Saturday at the Coach House. “I have trouble trying to explain music with words. It’s basically going to start where we left off on Wynton’s ‘Black Codes (From the Underground)’ album. Our music.”

The group will include pianist Kenny Kirkland, drummer Jeff (Tain) Watts (both of whom appear on “Black Codes”) and bassist Bob Hurst. Marsalis promises he’ll be playing his soprano, something missing from “Trio Jeepy.” He’s calling the new compositions “Crazy People Music.”

“That’s what most people who really aren’t into jazz, and, of course, we know the majority of this country is not, that must be what they really think of this stuff. It’s crazy-people music.” Marsalis says he has some ideas for pop projects, but that they would have to be done on his terms.

“It would be some real difficult stuff to listen to, not like mainstream pop, but more in the vein of Art of Noise and Trevor Horn (Art of Noise’s producer), but with a lot more music involved, because we know a lot more music than he does.” And, to squelch the rumors, Marsalis says he won’t be in the new Spike Lee “jazz” film.

“I had an offer for a role in it, but had to turn it down because of the band. The ironic thing is that Jeff Watts will be in the film. But right now, my main priority is this music.”

Saxophonist Branford Marsalis plays Saturday at 9 p.m. at the Coach House, 33157 Camino Capistrano, San Juan Capistrano. Tickets: $16.50. Information: (714) 496-8930.