This follow up to bassist Roland Guerin’s superb Live at the Blue Note release (picked by OffBeat as one of the top 50 albums of 1999) confirms that he is one of the most important player/composer/bandleaders in the current wave of young modern jazz talent coming out of New Orleans. This new CD contains many of the same tasty ingredients as the aforementioned record: strong, mostly original material and a gifted young band that seems excited about working together and exploring Guerin’s soulful, swinging music.
The band, featuring drummer Jason Marsalis (who plays with Guerin in Marcus Roberts’ trio), pianist Peter Martin, tenor sax players John Ellis and Brice Winston, and altoist Derek Douget on several tracks, has played together on numerous Guerin gigs and developed familiarity with many of the songs. This enables them to expertly navigate the intricate twists and turns on tunes like “A View From Above,” which switches between three different meters, and “Wisdom,” a wonderful Latin-flavored solo vehicle in which Marsalis intentionally plays a third behind the tempo. Several of the hard-swinging burners, such as “I Witness” and “Living Easy,” display the influence of Wayne Shorter and Monk in their unorthodox, yet subtle, structural variations.
Regardless of the complexities, the listener remains engaged, mostly because these songs also possess strong, memorable melodies which owe as much to the jazz tradition as to the wide world of pop. (It’s clear that Guerin listens to a lot of different radio stations.) There are also several more straightforward tunes, such as “Swinging at the Half Note,” a propulsive number with a down home New Orleans feel which provides an excellent blowing vehicle for Winston and Ellis, and “It’s My Turn,” a 12-bar blues with only three chords which thrives off call and response between band members. The one cover is a classic, “I Can’t Get Started,” done by Guerin as a tribute to Cannonball Adderley and Wess Anderson, and Winston’s tenor work proves up to the challenge.
This record also provides an opportunity for Guerin to unveil his custom made, six string acoustic bass guitar, which he uses on “Trust, Trust Jesus,” the title track and “A View From Above.” The instrument affords him greater range while still retaining the big, warm, dark tone, reminiscent of Ron Carter, which he emanates on acoustic upright bass. In addition, Guerin has developed an exhilarating slap-bass style—percussive and funky, but also melodically and harmonically profound—which creates several high points on this record.
The last track, “Let’s Play,” was made up on the spot in the studio by Guerin, Marsalis and Ellis in a loose trio format. It features a zesty melody and inspired solos by all three players, especially Marsalis. This spontaneous creation is the album’s true highlight, capturing the creative fireworks that go off when these young men get together.
