Cyclic Journey (Alternate Side)
Marshall Gilkes
Released September 30, 2022
DownBeat Five-Star Review
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_lLpHkaiWlVLr8BfccVPid907SDiOgysY8
Spotify:
https://open.spotify.com/intl-pt/album/0kFSQfdajn3AKNxpwdQ2P0?si=tQXdIRj5S2qh2TRcti64Kw
About:
Wonders never cease with Marshall Gilkes. Having previously reached extraordinary heights as a leader on a breakout quartet set, two standout quintet dates, a pair of essential releases with the WDR Big Band and one stunning trio album, this celebrated trombonist and composer now moves beyond known borders. Directing and fronting a sui generis assemblage merging a top-shelf rhythm combo with a brilliant brass ensemble, he uncovers and explores the conventions of his own cyclic journey. “I wrote the music for this album in March and April of 2022, but I’ve had this idea—to bring these two worlds together—for quite some time,” Gilkes explains. “And in terms of the theme, it really came to light through reflection on what’s most familiar to me. That’s how I arrived at the idea to write a soundtrack to my daily external and internal existence.”
That soundtrack, taking shape as a nine-movement suite illustrating the beauty and grounding influences Gilkes finds in his family life and day-to-day designs, serves as a bridge, highlighting his rare ability to cross over and operate at the highest levels in both the jazz and classical realms. The personnel that he convened for the project—an incredibly accomplished and unique gathering—mirrors that uncommon flexibility. Pianist Aaron Parks, bassist Linda May Han Oh and drummer Johnathan Blake form a dream team on the rhythm end, bringing exceptional support and depth of presence to the music. And a well-integrated brass octet binds a who’s who of classical heavies and some of Gilkes’ fellow scene straddlers. That cadre includes trumpeters Brandon Ridenour, of Canadian Brass fame, Ethan Bensdorf, from the New York Philharmonic, and Tony Kadleck, who leads the pack of lead players in the Big Apple; horn marvel Adam Unsworth, Professor of Horn at the University of Michigan and a former member of the Philadelphia Orchestra; the legendary Joseph Alessi, longstanding Principal Trombone in the New York Philharmonic; bass trombonist Nick Schwartz, from the New York City Ballet; euphonium ace Demondrae Thurman, Chair of the Brass Department at Indiana University; and tuba titan Marcus Rojas, who, having held down the low end for everybody from Henry Threadgill to the Metropolitan Opera, seemingly knows no limits.
Together, that two-pronged team breathes tremendous life into this aural representation of Gilkes’ days. Opening on “First Light,” these musicians capture the beauty and optimism inherent in the dawn hours. “I usually wake up first in my house, the sunlight gently comes through the windows and things are quiet…before my kids come in and jump on me,” Gilkes shares with a chuckle. “So that’s really a piece about the gears of life starting to turn at the beginning of each day.” Welcoming chorales, a key element throughout the album, bookend the proceedings, leaving space between for Gilkes and the rhythm section to paint with pensive strokes. Once in motion there’s the “Up and Down” ritual—dropping the kids at school, hitting the gym and putting things in play. As the trombonist notes, “that really focuses on the idea of venturing out into the world.” Moving along with a hip and understated groove that grows in strength as time progresses and the brass brethren join in, that second offering acts as a perfect frame for Gilkes’ warm and melodious horn. Then comes “The Calm,” which looks closely at “the first chance to catch your breath, orient yourself and gather your thoughts to organize the day.” A peaceable production that smoothly integrates all of the prime elements in the mix—Gilkes’ inviting lines, a sympathetic brass presence, a sensitive rhythm section—it also leaves room to admire Oh’s rounded bass soloing.
As Gilkes and company continue on, the demands of the day intensify and the need for meditative space grows in parallel. “Go Get It!,” opening with fanfare before transitioning into an animated odd-metered showcase for the leader’s redoubtable slide work, is all about can-do attitude and action. “Respite,” built as a midday break, blends contemplation with contentment. “Beat the Clock,” expressing the urgency that comes with trying to get the most out of the minutes that remain, is absolutely vital. And “Genre Battles,” pitting a proud-and-prancing brass section against a swinging jazz outfit, acknowledges Gilkes’ broad stylistic reach and proves ingenious in its use and twisting of Rhythm changes. Having held membership in or worked with the Vanguard Jazz Orchestra, Slide Monsters, Maria Schneider Orchestra, New York Philharmonic, Brass Band of Battle Creek and numerous other front-rank ensembles in both the jazz and classical orbits, there are few others as qualified to deliver such masterful and humorous commentary.
By the time the penultimate “Musings” appears with its gift of flowing thought, and the title track carries things to a conclusion with warmth, soaring ambitions and a satisfying resolution, the cycle is complete. But all isn’t said and done. In one final bow to brass grandeur, Gilkes and his fellow horn men bring down the house with “Sin Filtro.” A bonus track boasting some of the leader’s signatures—extreme register jumps, strong melodies, sophisticated harmonies, rhythmic intensity— it’s a Spanish-tinged stunner that spotlights this unbelievable collection of slide and valve virtuosos. As a coda to Cyclic Journey it also serves an important purpose in further addressing Gilkes’ true musical passions. “I’m honestly someone who adores classical brass playing, but also loves jazz. And I feel like with this project it’s not just about the combination of two groups or ideas, but the musicians themselves. Linda’s sound on the bass is just so incredibly pure. Aaron’s touch on the piano, evident, for example, in the way he takes over after that fanfare on ‘Go, Get It!,’ is beautiful. The way Johnathan plays and orchestrates everything just elevates the music. And I have the ultimate cast of characters with these brass players. I feel like I’m very lucky that I was able to bring together the perfect group of people.”
Dan Bilawsky, June 2022
Track Listing:
1. Part I: First Light 05:56
2. Part II: Up and Down 05:06
3. Part III: The Calm 03:18
4. Go Get It! 06:46
5. Part V: Respite 05:09
6. Part VI: Beat the Clock 05:02
7. Part VII: Genre Battles 03:52
8. Part VIII: Musings 04:03
9. Part IX: Cyclic Journey 07:20
10. Bonus Track: Sin Filtro 07:33
Personnel:
Brandon Ridenour: piccolo trumpet, trumpet, flugelhorn
Ethan Bensdorf, Tony Kadleck: trumpet, flugelhorn
Marshall Gilkes, Joseph Alessi: trombone
Nick Schwartz: bass trombone
Adam Unsworth: French horn
Domondrae Thurman: euphonium
Marcus Roja: tuba
Aaron Parks: piano
Linda May Han Oh: bass
Johnathan Blake: drums
Recorded May 9-10, 2022 at the Bunker Studio Brooklyn, NY, by Aaron Nevezie
Produced by
Marshall Gilkes
Edited by Todd Carder
Mixed by John Davis
Mastered by Christian Schmitt
Design by Maria Perales
Review:
Mendelssohn said that the trombone was “too sacred for frequent use.” I say, “Phooey, Felix!” In recent times the instrument has been marginalized, dismantled live on stage in the name of improv, and, more forgivably, turned into a novelty instrument. We’ve forgotten that from Giovanni Gabrieli to Tommy Dorsey on the trombone — with the old sackbut still hiding in its shadow — came closer to the beauty of the human voice than any other horn. So bring it back and bring it on. Of contemporary trombone players, Gilkes probably has the closest kinship with both Gabrieli (not a trombonist, but he seemed to find its natural song) and Dorsey. This is one of those records that makes one wish the old habit of not applauding in a church were to be revived. The instinct is to listen to what is, for once, a genuine musical journey, full of wise and joyful observation, sit silently for a moment or two in appreciation and then get up and leave. Whether it is a jazz record or not is a question for those who have time to split hairs, but the combination of Parks, Oh and Blake makes it feel very much like one, with The Birth Of The Cool and Kind Of Blue not so far back in the family tree. The buoyant bonus “Sin Filtro” is probably a touch de trop, to mix the tongues a little, on such a perfect record, but it’s a useful and exciting reminder of where Gilkes comes from.
Brian Morton (DownBeat)
