Trio shines in jazz festival's climax

There have been countless great connections between players throughout the history of jazz music.

From the relentless swing of the Ellington band to the glued-together rhythm that existed among Elvin Jones, Jimmy Garrison and McCoy Tyner in the John Coltrane Quartet, the music has the most to say when those playing don't have to say anything.

The members of the Marcus Roberts Trio have achieved that all-important connection and proved it to a packed house in Hill Hall Auditorium on Friday night.

CONCERT REVIEW THE MARCUS ROBERTS TRIO HILL HALL AUDITORIUM FRIDAY, FEB. 25

As the artists for the marquee concert in the 28th annual Carolina Jazz Festival, the trio delved into the many forms of their music. Moving seamlessly through reflective interpretations of standards and hard-swinging originals, the performance offered the audience a unique opportunity to appreciate jazz as the trio itself appreciates it.

Marcus Roberts showed that he is one of the most diversely articulate pianists playing jazz today. He has the ability to compose beautiful melodies in his soloing, with an almost pained care in crafting them that is reminiscent of Bill Evans. Roberts' talent is most accessible, though, when he swings. His playing defines the feeling of that style, far beyond a simple combination of rhythm and sound.

On "Trinkle-Tinkle," written by legendary pianist Thelonious Monk, Roberts let his influences shine through in a style that over his years of experience has become his own.

Coltrane's "Mr. Day" allowed bassist Roland Guerin to show that his instrument can be as expressive as any other. Guerin used slap-bass technique on the tune, showing off his amazing conceptualization of complex rhythm played on the upright bass, with uncommon power behind his fingers.

Drummer Jason Marsalis showcased his encyclopedic knowledge of myriad musical styles, shifting easily from straight-ahead swing to African-influenced rhythm to syncopated Latin beats. On the trio's interpretation of Scott Joplin's rag "The Entertainer," Marsalis shined through with all of his strengths, with an intro that invoked visions of Art Blakey.

For the audience, the trio's rendition of Coltrane's complex classic, "Giant Steps," was one of the evening's most exciting points. With special guest Branford Marsalis, the performance was a miniature all-star show from members of Wynton Marsalis' '80s bands, with Roberts on keys and Branford on tenor saxophone.

Branford reappeared for the last song of the set, "Take the Coltrane," which Duke Ellington wrote for the North Carolina-born jazz figurehead. In the true tradition of swing, which Ellington did so much to define through his compositions, the song was one of the night's most engaging.

Steve Riley joined the group on the song as a second tenor saxophone. Riley and Branford blew the audience away with warring solos in what Roberts referred to as "a friendly discussion."

Typically, the prospect of two tenors trying to out-blow each other is not overly appealing. Here, though, it worked perfectly. Where Branford's sound is bright, Riley's is dark. Marsalis played a chorus of reeling lines and brilliant tone, and Riley answered with all the right notes, but at a volume where everyone listening was compelled to lean forward and learn more.

A cutting contest with two talented players of such vastly different styles, conversing through their music and playing off each other's ideas, was a perfect climax to the concert.

The trio, supplemented by its two guest tenors and jazz program director James Ketch on trumpet, came back for an encore and poured its soul into a simple blues. Roberts' love of music comes through most clearly in this context, and the result is always different, but always beautiful in its intensity. Everyone loves to sit in on a blues jam, and these musicians are no exception.

The Marcus Roberts Trio boasts some of the most extensive knowledge of their art form of any group playing. Roberts, Guerin and Marsalis have an ever-tightening musical connection that lends passion and expertise to the music they create, giving them plenty of material to continue on their journey into swing.

Contact the A&E Editor at artsdesk@unc.edu.