This is not nostalgic Duke Ellington music like so much that has been released in the last year. In fact, this remarkably original, soulful and intricate jazz would sound new to Duke if he heard it today, but he would recognize the spirit, and would indeed be proud.
What’s really new about this record is the way it successfully puts forth a fresh concept for the jazz trio. It challenges the traditional notion that the bass and drums should primarily play a support role, laying structural foundation while the leader attempts to sprout wings. Roberts has simply asked why can’t all three members soar into the deep blue sky simultaneously, without sacrificing the high level of intuitive support that must exist within a great jazz trio? It’s not impossible; others have tried, but the lack of structural gravity often causes players to disconnect and drift into outer space like celestial garbage. Roberts’ trio, with bassist Roland Guerin and drummer Jason Marsalis, displays enough intuitive virtuosity to make it seem almost easy, like astronauts playing catch with moon rocks.
Robert’s style rests somewhere between the soulful melodies of Eric Reed and the rhythmic and spiritual resonance of McCoy Tyner, owing as much to the church and ’60s soul as to modern jazz masters. On this record he brims with passion and sensitivity to the various themes the group is developing within each song and through the entire record. Guerin and Marsalis also flex powerful muscles, not only on solos, but when all three members are “swinging out” together, as on the sublime “Duke de Suite,” when for a stretch each member plays at different tempos and yet remains totally in sync.
Other highlights include the immaculate Guerin bass solo on “Promises, Promises,” and the way Marsalis and guest drummer Antonio Sanchez play off of each other on “Take A Chance” and “Groove Until You Move.” “The Beauty of the Spirit,” a homage to Roberts’ childhood church experiences, starts softly and builds to an ecstatic, gospel-fueled climax reminiscent of the best material from In This House, On This Morning by the Wynton Marsalis Septet (of which Roberts was a key member).
There are so many stellar moments; suffice it to say that this trio, which has now played together for over four years, is operating at Ferrari performance levels, with an interior ride that would make Mercedes-Benz jealous.
Like Duke Ellington, Roberts’ trio has taken a well-spring of fresh, intricate musical ideas and made them palatable to a wide audience. Some record buyers expecting a typical “tribute” album may be surprised, but I doubt they’ll want their money back. It’s my prediction that they will be delighted and invigorated, and will run out to the store to buy more copies for friends.
