You rarely remember musicians for their disarming charm. But Marcus Roberts’ opening for his trio’s concert over the weekend was so winning, it heightened the audience’s already palpable anticipation. Often referred to as a genius of jazz improvisation, Roberts enjoys a sparkling reputation among fellow musicians and jazz enthusiasts alike for his extraordinary range of musical talent. A virtuosic pianist, his interpretive skills and arranging capabilities exceed exceptional. Now established as a leading figure in jazz, he refers to his current ensemble as a three- generation trio. Roberts presides over the combo as its magnanimous patriarch. Millennial Marty Jaffe, the trio’s newest member on double bass, is also its youngest; leaving drummer extraordinaire, Jason Marsalis, to occupy that stolid middle ranking on the generational ladder. The evening’s program in Evanston marked the first public concert the musicians would be performing as a unit.
Christening their program Rhythm ‘N Blue, not a hint of trepidation leaked into either of the two sets the trio presented in the Music Institute of Chicago’s serene Nichols Concert Hall. Celebrating the music of some the finest composers the country has ever produced, the three musicians paid tribute to not only jazz icons; but also to a few of Broadway’s more formidable titans. A good part of Roberts renown stems from the way he reinvents established works of music. The sublimity, artistry and intelligence of that gift would run rampant through every song the trio performed.
If you weren’t familiar with the boldness of the pianist’s approach to music interpretation, you might consider it radical. At least initially. So much can change when a song is reimagined. Its tempo, mood and phrasing can all be creatively rethought while keeping the song’s core melody and signature essence intact. Exquisitely mastering those tasks greatly contributes to Mr. Roberts’ renown and likely is one reason the concert hall was filled to the rafters Saturday night. The singularity of his arrangements strike you immediately like a flash of light that gets brighter and more engrossing as a song progresses. Jerome Kern’s, The Way You Look Tonight, not only glowed with that light, it featured radiant new colors when Roberts lingered in the higher keys. That defining sense of joy residing in the original song simply took on a more vibrant hue in Roberts’ inspired arrangement.
Whether it’s an overriding belief in equity or the result of natural humility, Roberts often made determined efforts to credit the talent of the other two members of his group. He’d praise the charisma of their play and point out the singularity of either their soulfulness or speed. He also insured Marsalis and Jaffe received plenty of time in the spotlight; supplying ample justification for his praise. With his self-composed One Man Band, Marsalis unleashed wave after wave of nuance and surprise on the snare drum. Jaffe used his solo opportunities to showcase the versatility and range of the bass, mining sounds and expressions that were both unexpected and delightful.
Thinking back on the isolation and anxiety people experienced during Covid’s darkest days, Roberts recalled the prevailing lack of fulfillment many of us felt after losing essential human connections. Don’t Suffer Alone, a beautiful melody he composed during the period, embodied both the melancholy and hope that marked many of those days. Like so much of his music, it was filled with a complex mix of tenderness and strength. Singed by wisps of gospel, a recognizable thread of spirituality also shone through that gave the song its ultimate message of reassurance.
Fresh, slick and smart, uptempo pieces blazed with characteristic innovation. Leonard Bernstein’s Jet Song from West Side Story had you reaching for your seat belt as the trio played impeccably at warp speed. Keeping the rhythm and melody rock solid, the ensemble’s extraordinary musicianship epitomized the meaning of greatness. Their take on Coltrane’s Bessie’s Blues, also a glorious barn burner of a tune, was as intricate as it was dynamic. During its performance was also the only time a song’s intensity broke through Roberts’ usually placid demeanor.
Regrettably, the trio brought the concert to an end without playing two songs listed in the second half of the program. Vociferous applause persuaded the three virtuosos to return to the stage for an encore that finally and beautifully capped an enchanting evening of music.
The Marcus Roberts Trio
April 15, 2023
Nichols Concert Hall
1490 Chicago Avenue
Evanston, IL 60201
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