A review of Idiosyncrasies
Marcus Strickland Trio
December, 2009
by J. Hunter
All About Jazz

Imagine walking the high wire over a shark tank during a hailstorm. As metaphors go, it's pretty vivid and pretty dangerous. It's also the best way to illustrate the delicate balancing act that comes with fronting a sax trio date - which may explain why it's rarely attempted, and rarely successful. With Idiosyncrasies, the Marcus Strickland Trio succeeds with flying colors.

The Strickland original "Cuspy's Delight" sets the disc's winning tone, as Stricklands' tenor sax torches the off-time establishing figure while his brother E.J. Strickland, on drums, counters and embroiders with impunity. The piece maintains its aggressive direction as Marcus backs off and E.J. launches his own solo, to make a tremendous noise with two sticks and a drum kit. Bassist Ben Williams has no intention of sitting back and watching the brothers duke it out: he is resonant to the max on Jaco Pastorius' "Portrait of Tracy"; his solo on Marcus' own "Middleman" helps the piece get straight to the heart and soul; and Williams rumbles and growls while E.J. sets up the hypnotizing groove on Bjork's "Scatterheart.

The latter track is an example of Marcus' delightfully eclectic choice of cover material. Idiosyncrasies closes with the breakneck "Time To Send Someone Away," a creation of Swedish singer-songwriter Jose Gonzalez and DJ/rapper Magnus "Embee" Bergkvist. OutKast's "She's Alive" is a stroll in the night through a less than benign neighborhood, lit only by Strickland's luminous tone, and E.J.'s titanic solo at the end of Stevie Wonder's "You Got It Bad, Girl" segues seamlessly into Williams' in-the-clear opening to Malian singer Oumou Sangare's "Ne Bi Fe."

Marcus expertly stretches the outside of the envelope on every solo, and his sense of narrative never falls flat. "Rebirth" is a passionate eulogy as full of love as it's full of grief, and he overdubs a flock of clarinets to build the technical marvel "The Child." Marcus' past work with trumpeter Dave Douglas showed the reed player had the talent to mount a project like Idiosyncrasies, but the proof is in the pudding. Predictably, this pudding is exceptionally tasty.

A review of Idiosyncrasies
Marcus Strickland Trio
December, 2009
by Matt Marshall
Jazz Inside Magazine

This new trio effort from rising sax star Marcus Strickland, featuring his brother E. J. on drums and Ben Williams on bass, unravels with a moody, contemplative spin, recalling the intellectual spirituality of Coltrane that Strickland contemporaries like J. D. Allen are also exploring. Strickland moves from a bold, aggressive attack to more halting, stretching fare and back, just as he alternates between his own compositions and those from the likes of Bjork, Stevie Wonder and Jaco Pastorius. Throughout, he is aided by the rhythmic shifts from Williams and E. J., which keep even the brainiest of Strickland's passages hopping. E. J. and Williams are both given room to stretch on the appropriately titled "Set Free," and Williams opens Oumou Sangare's "Ne Bi Fe"—the most rhythmically diverse and intense number of the set—with a two minute bass solo. As is often the case with trio outings, less—with wider fields exposed for all involved—proves to be considerably more.

A review of Idiosyncrasies
Marcus Strickland Trio
November, 2009
by Shaun Brady
DownbeatMagazine


4 Stars ****

There have been countless saxophone trio recordings since Sonny Rollins essentially pioneered the form on Way Out West. But upon slipping Marcus Strickland's latest take into the deck, the listener can't help but leapfrog over half a century's worth of refinements back to the 1957 original.

The two sessions share not only instrumentation but a similar sense of purpose: the lack of a chordal instrument means that the saxophonist is more firmly a strange freedom in this seeming limitation. Like Newk before him, Strickland has assembled a set of tunes with strong, direct melodis that inspire boundless reveries.

And though he doesn't don spurs and a 10-gallon hat to explore the terrain of country music, Strickland wanders just as far afield to find his material. The songs by Stevie Wonder and Outkast may not be particularly surprising given Strickland's recent funk-leaning experiments, but he also culls pieces by Malian singer Oumou Sangare, Argentinean-Swedish singer-songwriter José González and a Björk song from her role in Lars von Trier's film Dancer In The Dark.

Strickland's versions are in a sense more pop-oriented than the originals - in the best sense, of making a direct emotional connection. On Björk's "Scatterheart," in particular, he strips away the dramatics and the Icelandic singer's penchant for labyrinthine melodic filigrees and uncovers the soulful desperation buried within.

Strikingly, the leader's own originals are just as memorable, and tailor-made for his tightly attuned trio. That communication is so empathic between Strickland and his drummer, identical twin E.J., is a hardly surprising, but bassist Ben Williams is consitently an equal partner without the benefit of genetics. Throughout the album, the trio maintains a sound both sparse and rich, with a relaxed ease that allows for experimentation but without airiness ever feeling empty.

The threesome's effortless teamwork is embodied on "Rebirth," the leader's plangent ballad. Marcus' tenor is both keening and steely, E.J.'s brushwork a hushed whisper, while Williams provides am insistent but unintrusive throb. The combined effect is one of tenderness charged with an undercurrent of urgent passion, the blood pulsing in one's temple at a moment of quiet intimacy.

A review of Idiosyncrasies
Marcus Strickland Trio
September 18, 2009
by Pico
SomethingElseReviews.com


Here at Something Else we take a shining to rising young talent who puts a modern, interesting twist on jazz while honoring its tradition of deep harmony, creative improvisation and unselfish group symbiosis. That's what I liked about E.J. Strickland's debut album In This Day, which came out this past spring. I didn't have to look much further to find more of the same; in fact, it was found close by within his own family. Twin brother saxophonist Marcus, who already has had four or five albums to his credit, is following his look-alike sibling just a few months later with his third for his own Strick Muzik label, Idiosyncrasies.

It's really hard to tell which of the two is more talented, but Marcus has nonetheless made a name all his own. He cut his first record in 2001, and was named "Best New Artist" for 2006 in JazzTimes Magazine's Reader's Poll. That year, he started up the Strick Muzik record company, from which records by both him and E.J. are released. Marcus has certainly paid his dues to get his present stature: five years playing in Roy Haynes' band, as well as other greats like Charles Tolliver, Lonnie Plaxico, The Mingus Band, the Milt Jackson Big Band and Tom Harrell. He's still soaking in other people's influences to this day, currently playing with Jeff 'Tain' Watts, Will Calhoun and Dave Douglas (we duly noted Strickland's solid contributions to Douglas' Moonshine last year).

His ruminative, intelligent sax lines is his hallmark, as his solid ability to pick tunes from other genres and bend the melodies to his own vision without breaking them. His knack for writing songs that contain memorable melodies and are rhythmically aware has grown to the point where it matches his ample capacity to interpret other people's songs and, naturally, play the saxophone. Idiosyncrasies, however, breaks ground in another area. You see, all of Strickland's prior records have been performed within a quartet format; not always the same four man configuration but a foursome, nonetheless. For a horn player, that's pretty lean already. For his new record, Strickland tries his hand at a trio setting: himself on saxes and clarinets, Ben Williams on acoustic bass, and brother E.J., as always, on drums.

Ever since I first heard the magic of Sonny Rollins' Live At The Village Vanguard more than a couple of decades ago, I always regarded the sax supported by only bass and drums as the ultimate litmus test for sax players. For a guy like Rollins, he made it sound simple to hold down both the melody and the improvisation parts, although you know it's a high wire balancing act that doesn't come without a lot of woodshedding and just plain talent. But Marcus has got it mastered.

Idiosyncrasies carries over his abilities to craft interesting songs and re-cast other people's songs. The album gets started with Marcus' own dedication to his sometimes boss Tain, "Cuspy's Delight." It's a rollicking piece that connects chords logically together while being mindful of the knotty rhythm rumbling underneath it. The tenor swings mightily and emotionally, but in a composed fashion. "Rebirth" gives the listener a breather with its slow tempo and a sax that plays long, pensive notes that honors the melody while Williams (as he does everywhere else) takes care of business on the harmony side. "Middleman" is closer to no-frills straight bop, providing a chance for both Williams and E.J. to run around the playground more than they already do. "The Child" stands out because Marcus overdubs bass clarinets that state the repeating chorus. He solos over it with a tenor sax that sometimes reaches the boiling point.

And then there's the unusual---for jazz, anyway---choice of covers. "She's Alive" is from rap artist Andre 3000, although Marcus' conception of it is very much in the vein of soft, modern jazz, and a nicely sensitive reading at that. Stevie Wonder's "You've Got It Bad Girl" is one of E.J's finest moments on this record, adapting his time-keeping to the absent lyrics, and stuffing it full with spirited fills along the way. Marcus merely plays the singing part on his tenor and lets his brother take the spotlight. Arguably his best cover on this CD, Jaco Pastorius' "Portrait of Tracy" retains all the natural beauty of the original melody, while tossing in shifty rhythms and some prime soprano saxophone playing by the leader.

It's really, really difficult to tell the whole story of intricate songs with just a sax, bass and drums. I think that Marcus Strickland largely succeeds in doing that, though, through his judicious use of note selection and passion, along with the help of his powerful rhythm section. Coming out on September 21, Idiosyncrasies is, simply stated, an album that does a lot with a little.

A review of Idiosyncrasies
Marcus Strickland Trio
July 26, 2009
by Ben Ratliff
NY Times


On "Idiosyncrasies," the jazz saxophonist Marcus Strickland is in no hurry, and so much the better. Now 30, he's been moving ahead for 10 years in New York as an absorbent and confident player, rooting around in different styles, sometimes obscuring what his best one might be.

Here, form helps drive style: it's just saxophone, bass and drums. So Mr. Strickland, on tenor and soprano saxophones, with Ben Williams on bass and his brother E.J. Strickland on drums, has to be bold with his melodies and sparing with his improvising. He must be grounded because a chordal instrument won't do the grounding for him. (He's not on the high wire all the way through: he multitracks with clarinets on "The Child.") He uses five of his own terse songs, as well as others by several kinds of popular musicians: Bjork, Andre 3000, Stevie Wonder, Jaco Pastorius, Oumou Sangare and Jose Gonzalez. But he's not giving himself up to the character of any of these songs. This record, honest and stubborn, stands its ground.

For some reason 2009 has been a big year for saxophone-trio records: this one, along with J. D. Allen's "Shine!" and Fly's "Sky & Country," feel like enough for a new wave. Since Sonny Rollins more or less defined the saxophone-trio format in 1957, it has broadened in all the ways that jazz in general has broadened: rhythmically, structurally and in the oratory and rhetoric of soloing. But the basic attraction remains the same: physical challenge and harmonic austerity. And all three of these albums sound unusually self-possessed, as if they're vying for place beside the small number of similar landmarks in the 50-year interim, which include "Dark Keys" by Branford Marsalis, "The Window" by Steve Lacy, "Triplicate" by Dave Holland, "The Hill" by David Murray and "State of the Tenor" by Joe Henderson.

Mr. Strickland can be a conventional writer, sounding at times in the past like an averaging-out of the advanced younger New York bandleaders. But these songs are different, and this album, with Mr. Strickland distributing his intensity carefully over a subtle, flexible rhythm section, is of a whole other order. Here and there it carries light echoes - of Mr. Marsalis, of Henderson or John Coltrane - but that's not a problem. The melodies are unaffected, almost stoic; there's a kind of nonidiomatic breeze blowing through them. You don't necessarily hear the slow-and-subtle ballad "Rebirth" or Mr. Strickland's even slightly slower-and-subtler version of OutKast's "She's Alive" and think, that sounds like a jazz song. (Even "Middle Man," with the hardest swing of the record, doesn't prompt that feeling.) That's good. It's a record you can give to friends who aren't keeping score with jazz. That's good too.

A review of Idiosyncrasies
Marcus Strickland Trio
July 22, 2009
by Richard Kamins
Hartford Courant


I've been quite busy over the past month working on several projects which as left me precious little time to update the readers on some of the great recordings that have crossed my desk. In the coming weeks, I'll post several longer reviews but here's several releases you should check out in the meantime.

Idiosyncrasies - Marcus Strickland Trio (Strick Muzik) - There have been plenty of saxophone trios releases recently but this is, arguably, one of the best. A trio of equals, featuring Marcus on tenor and soprano saxophones, and bass clarinet, his brother E.J. on drums and Ben Martin on bass. First and foremost, this program is about melody and melodic ideas. Secondly, it's about interplay and not just the leader showing off his chops and wonderful tone. Thirdly, and (to me), most important, this music moves the listener emotionally and physically. Yes, it has moments of great power with the bass and drums ("Cuspy's Delight" is one such track) pushing the saxophonist to let loose but there are also songs that appeal with well-drawn melodies and thoughtful solos ("She's Alive.")

It's easy to compare this disk to Sonny Rollins' groundbreaking 1957 Lp "Way Out West" (recorded with drummer Shelly Manne and bassist Ray Brown.) Both recordings feature leaders who know what they want and can do and both treat the rhythm sections as equals in the creative process. Go to www.marcusstrickland.com/home.html and find out more about this excellent young musician and his music.

A review of Open Reel Deck
Marcus Strickland
January, 2008
by Jim Macnie
Downbeat Magazine


Let's hear it for audacity - the ability to fashion an artistic statement that blends uninhibited ideas with pride and self-awareness. Archie Shepp has it, Steve Coleman had it and with his rather commanding fourth disc as a leader, Marcus Strickland shows he has it, too.

For years, the New York saxophonist has been touted as an up-and-comer with and edge; this bold approach has not only earned him critical accolades, but key positions in the ensembles of no-nonsense elders such as Roy Haynes and Jeff "Tain" Watts. His fully acoustic discs for Fresh Sound were head-turners, but the 28-year-old's recent work with his Twi-Life outfit presents his most singular artistic personality so far. By blending meaty hip-hop grooves and intricate, funk-tinged rhythms, Strickland presents a cagey approach to what used to be called the crossover move.

Strickland cut Open Reel Deck live, and his group's bandstand vigor splashes throughout. The leader is a fierce soloist; in cahoots with his poet Malachi, who declaims convincingly on a handful of tunes, he keeps the performance level at a fever pitch. "Volatility" lives up to its name, a forthright groove joint that evolves into a pressure-cooker of ideas. Strickland is a natural agitator throughout, unfurling his tenor lines in ways that consistently generate responses.

This aggressive attack comes in play even when the boss is absent. "In-," one the of the purposefully lo-fi snippets threaded through the program, finds trumpeter Keyon Harrold going at it with guitarist Mike Moreno and drummer E.J. Strickland. All three, especiallythe percussionist (who roars on this entire date), nudge old-school eloquence into the red zone.

That doesn't mean the session is all bluster. The head of "Pilgrimage" exudes grace while still being ardent as hell, and while Strickland's solo is typical of the disc's other excursions, he equals his vehemence by his lyricism.

Certitude rules. Malachi may not have the flow of T.I. or Jigga, but he has a commanding oratory. In tandem with the chops and conviction of the Strickland brothers, it underscores the music's wallop. Some experiments sound like an exercise; this one's all about passion.

A review of Open Reel Deck
Marcus Strickland
December, 2007
by Richard Scheinin
Mercury News


Jazz: Look beyond usual suspects (except Herbie) for the rising stars

With one exception, Herbie Hancock, whose new Joni Mitchell tribute record is too good to pass up, I've forgone the usual suspects in compiling this list of recommended jazz recordings. Because jazz is moving forward, and it's time that a broader audience catches on. I'm sorry, but Miles and Dizzy are gone. And if they weren't, they'd be listening, I bet, to the musicians on this list (nine CDs, one DVD), my "best of" choices for 2007.

Marcus Strickland: "Open Reel Deck" (Strick Muzik). Veteran players have touted saxophonist Strickland, still in his 20s, for years. But here he comes into his own; he has presence, tells stories with his solos, plays as if he knows he belongs in the big leagues. This live date, with recitations by the poet Malachi, has an edge, real electricity, and teams Strickland with other leading players in their 20s, including drummer E.J. Strickland, his brother, and trumpeter Keyon Harrold. They've grown up in the hip-hop era, and their music, their jazz, sounds different as a result. There's intensity and consciousness of tradition here, too. Spiritual music.

Strickland also stands out on "Folk's Songs" (Dark Key Music) by Tain & the Ebonix, a studio date by drummer Jeff "Tain" Watts and his band. A churning powerhouse, Watts gives these tunes a workout. Check out, especially, what the band does to Keith Jarrett's "Rotation."

A review of Open Reel Deck
Marcus Strickland
November, 2007
by Michael J. West
JazzTimes Magazine


The jazz-funk of Marcus Strickland's crack Twi-Life Group is a surprise from the saxophonist who, with twin brother and drummer E.J., was once the Marsalises' heir apparent. Indeed, Open Reel Deck plants the group firmly onto a continuum with hip-hop. Both funk and hip-hop are for dancing and partying, but this disc (recorded live at Jazz Standard) targets the intellect even as it makes the head bob. It's fun and engaging., though slightly ham-handed.

Open Reel Deck celebrates both Strickland's old reel-to-reel stereo and themusic he first heard on it. The latter homage features a rich, laid-back groove that might pass for lounge-jazz if not for E.J. Strickland's relentless beats. Bassist Carlos Henderson and guitarist Mike Moreno seem intent on absorbing the drums' impact - on "Sneaky Deaky", Moreno creates a cushion of sound that recalls U2's the Edge - but E.J. wins out, helped by the powerful accents in his brother's tenor solos. Also dominant is the booming voice of Malachi, delivering spoken-word poetry on five tracks. Strickland insists that Malachi's style isn't rap, but it's hard not to hear the hip-hop underground in his cadences and relationship to the music.

Strickland's salute to his old tape machine is maddeningly flawed. He plays one trac ("Inception") on the reel-to-reel, records that playback, and splits it into three staggered segments. It inspires neither admiration nor nostalgia, only frustration at the tape hiss and the slicing of what should be the best track. Fortunately the disc is strong enough to overcome the handicap.

A review of Open Reel Deck
Marcus Strickland
September 27, 2007
by Mark Turner
MidwestRecord.com


In an All About Jazz.com article titled "What the #%! Happened to Black Popular Music?," the question was articulated on the current state of African American popular music with insights on its past, present, and future. Whether you're nostalgic and miss the sounds of Motown or have a love/hate relationship with the current music scene, the debate will undoubtedly continue. But jazz saxophonist Marcus Strickland could unknowingly be answering part of the question on Open Reel Deck .

Strickland is an aspiring musician, having created a name performing with the likes of drummer Jeff "Tain" Watts, winning the Jazz Times Readers Poll for "Best New Artist" in 2006, and producing noteworthy records including Twi-Life (Strick Music, 2006). Like other contemporaries, his music is a reflection of his environment, soaking up many influences, in and outside of jazz.

Recorded live at the Jazz Standard in April 2007, this is a clear statement of Strickland's ideas with the Twi-Life band-brother E.J. Strickland (drums), Carlos Henderson (bass) and Mike Moreno (guitar). Guests include the fiery new trumpeter Keyon Harrold and pianist Jon Cowherd on one track. Those familiar with Twi-Life can expect more of the same groove-centric jazz, but the striking gong in this band's lineup is heard when the music is blended with the compelling spoken word lyricist named Malachi.

This urban stew and brew is thick with the freedom of live music that is funky, thought provoking, with the band putting down neo-soul beats, "old school" style horn arrangements and free solos. The music is perfectly balanced with Malachi's incredible freestyle-expressing "positive" words/poems about life, music, spirituality, and self-awareness. His voice is an instrument and his words are the notes, backed by the rhythm section and Moreno's chilled guitar riffs on favorites including "Pilgrimage" and "Virture."

A few of the songs feature the quartet by themselves - a ballad, "Subway Suite 2nd Movement," and up-tempo burners "Sneaky Deaky," "Prospectus," and "Volatility." Artistic touches give a few shorter pieces an intentional "Lo-Fi" sound quality that would've been better if they were heard more clearly. But, overall, Open Reel Deck is a resounding success, giving a glimpse into music that thrives with creativity and quality, in the here and now.

A review of Open Reel Deck
Marcus Strickland
September 7, 2007
by Chris Spector
MidwestRecord.com


MARCUS STRICKLAND/Open Reel Deck: A devotee of Charlie Parker at 11, this rising young lion can easily be described as Coltrane via hip hop, but he doesn't wear easy, defining tags well. Other than the best new artist tag he's recently nabbed, this young vet that has worked his way through the ranks of some very hip cats of several generations is a mind blowing blower. Hot and heavy contemporary sounds with one foot rooted in real music anchoring the proceedings, this is player not to be missed. Young jazzbos that can't have it hip enough will be highly impressed with what's going on here. 2 (Strick Music) A review of Twi-Life
Marcus Strickland
April, 2007
by Greg Yuska
JazzImprovMagazine


Marcus Strickland has in "Twi-Life" undertaken and successfully executed a truly ambitious project as both a band leader and soloist recording under his own label. With no less than 15 original compositions out of 17 tracks on his CD with two different groups he has touched on numerous aspects of modern composi- tion and performance. The result is a highly original brand of stylized compositions sparked by Marcus' stellar soprano and tenor saxophone eloquence. A blend of both mainstream and smooth jazz is impec- cably integrated into a fusillade of rising and falling emotions both soaring and swooping down upon the listener through songs with titles such as "Thump & Cadence" and "Moon Ruler." This is not to suggest, however, that this isn't a group that doesn't swing… it does so with authority!

Disc number one features the Marcus Strick- land Quartet with Robert Glasper on piano, Vicente Archer on acoustic bass and E.J. Strickland, Marcus' twin brother, on drums. These musicians play so well together, entering into that sophisticated state of inti- mate musical conversation and interaction so few en- sembles of this genre could ever hope to achieve. Every head, it seems, has that slick, highly stylized Strick- land sound signature. This is an acoustic neo-bop group never lacking for effervescence and raw energy. Strickland will, on some tracks start with soprano sax and transition to tenor or as in the case of "Oriental Folk Song" he plays in a "pianoless" trio format.

But it is signature tunes such as "Sesame Street" and "The Whole Page" that garners ones attention. It's on these tracks that Strickland puts it into gear and drives it home. Robert Glasper displays a percus- sive piano attack, sometimes modal, sometimes har- monic but always advanced. Comping in tight voic- ing, or in open airy arpeggiations, his style greatly complements Strickland's wry saxophone prowess. Always on top of the beat, drummer E.J. Strickland kicks into that tight, forceful momentum comple- mented by his dry, choked, ride cymbal sound.

The second disc showcases Strickland's new Twi-Life quartet composed of Lage Lund on guitar, Brad Jones on electric bass and retaining E.J. Strick- land on drums. With the transition to these two new musicians, new approaches are explored, textures are expanded, and dynamics re-examined. More con- temporary jazz styles are introduced such as "Majesty," a funk-fusion piece and smooth fusion offerings such as "Shift." Strickland, in all cases, maintains his vibrant sound demonstrating that this "newer" mu- sic offers its challenges. "Nottage Cottage" expertly executed by bassist Brad Jones borders on rock-funk; danceable, approachable and compelling. Lage Lund exhibits a light, delightful, full-bodied style always complementing Strickland's saxophone while creat- ing complex, yet satisfying textures and harmonies when soloing or comping.

Marcus is content to limit himself to tenor sax- ophone on this disc, why... I’m not sure, since soprano sax would certainly be appropriate.

Marcus Strickland's "Twi-Life" displays his qualities both as a musician and prolific composer. Each and every one of his compositions and solos are highly stylized, compelling, exhibiting a maturity and understanding of where jazz has come from and most importantly, where it's likely to proceed. The Mar- cus Strickland Quartet draws on neo-bop influences while Twi-Life completes the circle into modern jazz fusion.It's atribute to this young musician and his im- pressive sidemen that they are capable of bridging the musical here and now as well as the hereafter. Expect to hear a great deal more of Marcus Strickland. He's demonstrated in this work that he is a force not to be ignored; but a musical spirit to be embraced.

A review of Twi-Life
Marcus Strickland
November, 2006
by H. Allen Williams
JazzReview.com


The word modern is defined as: of, pertaining to, or characteristic of contemporary styles of art, literature, music, etc., that rejects traditionally accepted or sanctioned forms and emphasizes individual experimentation and sensibility. Since graduating from New York's New School University in 2001, Miami-raised soprano and tenor saxophonist Marcus Strickland has been at the forefront of emphasizing his individual experimentations and sensibilities in defining and creating the modern jazz of today.

Strickland's career has been entwined with fellow contemporary player the likes of; Dave Douglas (performed on the Grammy nominated CD Keystone), drummer Jeff "Tain" Watts (Detained at the Blue Note), and was a longtime member of the Roy Haynes group (Haynes CD Fountain of Youth was also nominated for a Grammy). Strickland has two recordings as a leader, At Last (2002), and Brotherhood (2003). Characteristically of the present trend, Strickland has formed his own label, Strick Muzik, to emphasize his musical sensibilities. Twi-Life marks the unveiling of Strick Muzik and is a two disc set that contains two different ensembles, one acoustic and one electric; both individual and highly musical. Disc one features Strickland's longtime quartet, which consists of Robert Glasper (piano), Vicente Archer (acoustic bass), and his twin brother, E.J. Strickland on drums. Strickland's playing is strong and full of melodic and rhythmic developments that exemplifies the current modern jazz genre of today. Strickland has a strong foundation in the Wayne Shorter school of thought. However, Strickland definitely has his own sound and direction of musical experimentation and his playing will be enjoyed by any modern jazz listener or even the more traditional mainstream minded listener that enjoys a sense of restless excitement and a few more straight eights than their usual listening choices.

Disc one contains all originally penned compositions with the exception of the first track, "Oriental Folk Song," which is a Wayne Shorter tune. The music on disc one continues in an active comprehensible groove format. Strickland demonstrates his playing ability on soprano and tenor saxophone on the song "The Beast Within Beauty." This song is also a good example of how the ensemble works together to build the musical story line to a climax that make sense and is musically rewarding. "Sesame Street" will give the swing junkies their fix, definitely guaranteed to take the listener on an exciting musical trip that will build the mind—not fry it! Pianist, Robert Glasper does a fine job on this cut, excellent rhythmic left hand work that propels his right hand lines and when the two hands work together to form cascading arpeggios, it is really affective.

Disc two features Strickland's new Twi-Life quartet. Strickland is joined by Lage Lund (guitar) and Brad Jones (electric bass), with E.J. Strickland remaining on drums. The resulting personnel changes bring an even greater modern edge to the music. There is an emphasis on funkier and groove oriented material, again, all but one song is penned by Strickland. Strickland's playing remains vibrant in the new contexts and demonstrates his creative direction is ever evolving and causing him to strive to reach his full potential.

Strickland's playing on both CDs is energetic and musical. His compositions are also fresh and creative and should appeal to a wide jazz fan base. Lund, who won the 2005 Thelonious Monk International Jazz Guitar Competition, is very enjoyable. Lund's solo on "Shift," is full of wide interval's leaps building sixteenths and motif development that fits right in with Strickland's style and musical concepts. Electric bassist, Brad Jones takes a very inventive solo on "Paradigm." E.J.'s drumming is a constant factor on both CDs and adds to the cohesiveness of both projects as well as being a true delight to listen to.

Strickland's playing and compositional style is without a doubt shaping the soundscapes of the modern jazz world and is reflective of his generation and the world we live in today. This project is a great opportunity to explore a wide varieties of modern jazz styles, from swing to funk and even some ska! Over all, the project delivers over two hours of great music that is highly recommended.

A review of Twi-Life
Marcus Strickland
October, 2006
by Ron Netsky
rochester-citynews.com


One outstanding CD is a tough enough goal for a young musician, but the one-two punch just released by Marcus Strickland is an absolute knockout. Strickland showcases both sides of his musical personality, leading both acoustic and electric quartets on two CDs. The common denominator is thrilling music. Wayne Shorter's "Oriental Folk Song" leads off the first disc boldly in the saxophone trio style of Sonny Rollins, circa 1957. Once pianist Robert Glasper enters he provides vital counterpunches to Strickland's powerful tenor and soprano. Glasper's manic improvisation on "The Beast Within Beauty" is dazzling, his robotic riff on "Thump & Cadence" is mesmerizing, and his lyrical playing is gorgeous throughout. Strickland's compositions, at their best, are reminiscent of the rocket-fueled tunes of John Coltrane. On "Sesame Street" (no, not that one) Strickland takes off at a gallop only to be rivaled by Glasper's brilliantly complex piano runs.

Track 1 on the electric disc is also a novelty; this time it's Strickland skillfully providing counterpoint to himself on a multi-track recording. Guitarist Lage Lind is introduced with a fine solo on the next track, the bluesy "Shift." On "Haile Selassie" he turns in an even more impressive performance full of intricate legato lines. The session heats up when Strickland and Lind go into overdrive on the title tune. The second disc deviates from jazz roots, introducing elements of funk, ska and other styles with no shortage of help from bassist Brad Jones and drummer E.J. Strickland.

A review of Twi-Life
Marcus Strickland
September, 2006
by Edward Blanco
ejazznews.com


Saxophonist Marcus Strickland is a professional musician who has been a part of two Grammy-nominated recordings and recently finished a five year association with legendary drummer Roy Haynes. This new release on the self published label, presents Strickland with his first bandleader role. The album is a unique two-CD, two ensemble project capturing one recording session with the Marcus Strickland Quartet and another set with his new Twi-Life Group.

The music is essentially a progressive mainstream jazz groove containing an array of superb solo phrasings from the leader on two sessions of fresh new material. Exceptional charts and a riveting sound makes for one enjoyable and attention-grabbing disc. The sessions include several notable tracks among them, the melodic "The Beast Within Beauty," the exciting and fiery "Sesame Street," the very boppish "The Whole Page," the quick-paced "The Nottage Cottage" and the explosive title piece "Twi-Life."

Strickland plays tenor, soprano and writes all of the music except for the Wayne Shorter opener "Oriental Folk Song," and "In Faith." The Strickland Quartet records the first set with pianist Robert Glasper, bassist Vicente Archer and E.J. Strickland on the drums. The second CD features Lage Lund on guitar, Brad Jones on electric bass and E.J. Strickland again on drums.

A splendid selection of music performed with meaty solos on the reeds in a unique and stylish approach to jazz.

A review of Twi-Life
Marcus Strickland
September, 2006
by Sheldon T. Nunn
JazzReview.com


In a world that has been inundated by the bubbly and sometimes boring sound of smooth jazz, it is refreshing to hear music that is uniquely qualified to be traditional. Although saxophonist Marcus Strickland has a special vibe about him, his talent is obscured by the modern day recommendations of commercialized jazz pirates. For many who equate these inferences with laid-back instrumentals, Strickland and his quartet, as well as the Twi-Life Group plow the fields of jazz with a constructive and intuitively correct style of play. As proponents of the Wayne Shorter Jazz Order, Marcus Strickland and his band makes every effort to stay close to the intuitive creative flow that comes from within. Their latest CD entitled Twi-Life (Strick Muzik) is a reflection of what it means to return to the basics. For true jazz aficionados, listening to the acoustical display driven by The Marcus Strickland Quartet and the group Twi-Life, music in the bebop and post bop tradition is doing quite well.

Twi-Life is a two CD recording that not only reflects upon the style of Wayne Shorter, the set allows Marcus Strickland to speak his own mind as well. With two previous releases behind him, Strickland debuts under his own label with 17 compelling tracks of finely tuned originals and covers. With a career that has crossed the paths of Dave Douglas, Jeff "Tain" Watts and Roy Haynes, Marcus has only just begun to gel. Without a doubt, Twi-Life was an ambitious project to undertake as a label launch and two unmistakably different bands; however, the collective chemistry between Strickland and company sends an undeniable message. This recording is a true original and stays close to artistic impression. In addition, the inclusion of pianist Robert Glasper, bassist Vicente Archer and drummer E.J. Strickland provide a nice backdrop for Marcus. Incidentally E.J. is Marcus' twin brother, which in a small way makes Twi-Life a family affair.

On the first CD, there are seven original songs and one cover. The compositional expertise displayed by Strickland as a bop practitioner is amazing. As this is the beginning saga, as imagined by Marcus, musical parameters are well established. What is duly noted from the onset is Robert Glasper's piano placement as a strategic part of Twi-Life's repertoire. With Marcus driving the melody on saxophone, Robert's percussive piano licks augment the album's overall concept quite well. Another stellar addition is E.J.'s drum antics. He and Glasper play up the rhythmic influences of the album, allowing Marcus Strickland to shine throughout the process. On a track entitled "Thump & Cadence," a Strickland original composition, the quartet has some very interesting happenings going on. Glasper's effervescent piano provides the framework for a saxophone excursion of sight and sound, as the drummer and bassist Vicente Archer run percussive interference. Other tracks which include "Sesame Street," "Brooklyn Street Fair" and "The Whole Page" displays the band's interactive methodology. Their fast track into the fray of mutual interaction provides another perspective of sorts, but no matter how it's played, CD #1 sets a standard that evolves into the next phase.

Just as CD #1 set the standard according to the Marcus Strickland Quartet's formula for bop interpretation, disc 2 cements it in to place with the Twi-Life Group. This time out, Marcus invites guitarist Lage Lund, electric bassist Brad Jones and his brother on drums again to explore nine successive tracks with a seemingly different path. There appears to be a stylized approach to jazz with varying musical styles that are truly tied to the bop tradition, with a small helping of mainstream jazz attached. With the talents of Lund and Jones behind him, the melodies are more advanced. Another perspective places E.J. Strickland even farther into the forefront as the group takes a more fluid-like approach. On one track in particular entitled "In Faith," Twi-Life's melodic influences ebb and flow like the evening tide. Another cut entitled "The Nottage Cottage" makes a similar statement, but with a more upbeat approach. But in every aspect of Twi-Life's jaunt through jazz, Marcus Strickland's compositional vision never crosses over into contemporary characterization. Just as the first CD sent a message of creativity, the second is just as dynamic in approach, but with a less abstract flavor attached.

Marcus Strickland is well on his way to becoming one of the finest jazz musicians of his time. His brilliant compositional skills and his unique sound, keeps the door open to traditional jazz as an art form. In these definite and trying times for "America's most original art form," finding a platform to speak from becomes increasingly difficult; however, Marcus Strickland's talent will always find a way to be heard.

A review of Twi-Life
Marcus Strickland
September, 2006
by Thomas Conrad
JazzTimes Magazine


There was a buzz about Marcus Strickland even before he graduated from New York's New School University in 2001. Twi-Life is his third album as a leader. It is a double CD with his established acoustic quartet on one disc and new electric quartet on the other. Strickland's twin brother E.J. plays drums in both groups. Robert Glasper is the pianist in the first band, with Vicente Archer on acoustic bass. The electric group features Lage Lund on guitar and Brad Jones on electric bass.

The first disc contains some of the most intelligent, impassioned jazz that anyone of Strickland's generation has put down on record. On both soprano and tenor saxophones, Strickland overflows with fresh concepts, and his uncommon creative discipline shapes them into meaningful, complete forms. His tenor solo on Wayne Shorter's "Oriental Folk Song" starts in spare, telling gestures, gathers fierce scalar intensity, threatens to fly apart, then turns out to be part of a Shorter-inspired master plan.

His own compositions (15 of the 17 here) always sound like they have pressing reasons to exist. "The Beast Within Beauty" contains deep contrasts (soprano is beauty, tenor is beast). "Brooklyn Street Fair" extends complexity over visceral vamps, with a vast, towering solo by Glasper. The pianist's comping is symphonic and E.J. Strickland sounds like a drum choir with finesse. This is a special band.

Strickland's electric group is definitely funkier and more au courant, but not simplified. Lage Lund's guitar leaves more open air in the ensembles. Lund is also a compelling soloist, with ideas about Strickland's songs that are illuminatingly different from those of their composer. This is music for listeners who need challenges with their grooves. "Moon Ruler" is stretched far beyond its foundational backbeat. The concluding title track starts as a punchy elemental anthem before Strickland whirls it into an intricate, urgent incantation.

A review of Twi-Life
Marcus Strickland
September, 2006
by Willard Jenkins
www.openskyjazz.com


Here's another two-disk set, each disk represented by a different quartet - different in both personnel and feel - led by one of the most promising saxophonists, Marcus Strickland. He had the good brotherly sense to include his twin brother E.J. on drums, another of the brightest young musicians. They're joined by pianist Robert Glasper and bassist Vicente Archer on disk 1, guitarist Lage Lund and bassist Brad Jones on disk 2. Marcus has a nimble mind and lickety-split facility on both tenor and soprano sax. He works from the sturdy whole-cloth of a well-developed tone and careful attention to note quality. The compositions are all Marcus' inventions. There's a bit more of a wistful, contemplative quality to disc 2, creating a nice balance between the two - which are definitely separate programs. A review of Twi-Life
Marcus Strickland
June, 2006
by Mark F. Turner
www.allaboutjazz.com


A bold move from the young-blood.

For those unfamiliar with Marcus Strickland, he is simply one of jazz's shining young saxophonists. Thankfully he is not settling in a singular thinking of nostalgic jazz dreams but also charting his own destiny. His gigs for the past few years have been impressive - whether learning from the elders Michael Carvin (Marsalis Music), performing with trumpeter Dave Douglas Keystone, drummer Jeff "Tain" Watts (Detained at the Blue Note, or releasing his own two recordings (At Last,2002 and Brotherhood,2003.) But all of these accolades are clearly not enough and the idea to make his own music and label (Strick Muzik) commences with the duo-CD release Twi-Life. .Two discs, two bands, all done in Strickland's own warm, smooth, and fluid style.

The first disc features his longtime crew including the vibrant pianist Robert Glasper, the ever solid Vicente Archer on acoustic bass, and Marcus' equally dynamic brother, E.J. on drums. The music is consistent with the saxophonist's earlier releases appealing to both traditional and younger listeners while skillfully balancing the tightrope between modern and mainstream idioms. Of the seventeen compositions the only one not written by Strickland, is the absolutely cool trio cover of saxophonist Wayne Shorter's "Oriental Folk Song" with Archer's bass setting the tone as both Stricklands burn and freestyle on tenor and drums.

The remaining music on disc one continues with lively but always smooth and lucid energy on "The Beast Within Beauty" featuring Strickland on both soprano and tenor, and Glasper's dreamy and soulful piano as the intensity builds to a feverish and satisfying height. The band is cohesive whether expressing haunting melodies "An Oasis of Bronze" or swinging on "Sesame Street" where the they dig deep into the pocket then change directions as E.J.'s drums colors the nice coda. On "Brooklyn Street Fair" Glasper's repeating ostinato patterns is the spirit which drives Strickland's powerful tenor.

This energy proceeds yet changes on the second disc with Strickland's new Twi-Life quartet now consisting of Lage Lund on guitar, Brad Jones on electric bass, and E.J. Strickland again on drums. The dynamics of the music are not only broadened with the change of the two musicians but also from the way Strickland approaches the music which now covers more modern styles such as the funky "Majesty", the laid back groove of "Shift", or the Jamaican Ska influenced "Haile Selassie." Strickland's horn is still vibrant with these new colors showing that easier listening doesn't equate to watered down or less challenging music.

Brad Jones navigates the quartet through some tricky waters on the old school styled funk of "Nottage Cottage" as E.J. holds the steady back beat. On "Glitch" and "Paradigm" Jones' electric bass is expressed in quick inventiveness as well as delivering flexible solos. Lage Lund, who won the 2005 Thelonious Monk International Jazz Guitar Competition, is a delightful guitarist and the perfect foil for Strickland's warm saxophone as his full bodied playing is mature and expressive whether comping or delivering detailed solos.

E.J.'s drumming is an ever present factor but he also shows his composer's side on the stylish "In Faith." Disc two closes with a personal favorite "Twi-Life" complete with tight guitar/sax harmonies supported by a very groovy and danceable pulse.

Is one better than the other? That's up to the listener. Both discs are enjoyable and full of Marcus Strickland's qualities: soulful, modern, and thoughtful music. For musician and listener alike the rule is the same: You get what you pay or play for in life. And the double treat of Twi-Life is definitely worth the price of admission.

A review of Brotherhood
Marcus Strickland
Saturday, February 11, 2006
by Dirk Binsau
www.blog.jazz-not-jazz.com


What at first struck me about Marcus Strickland was his surname. As a German Strickland sounds very German to me and it could easily be the name of a store selling knitware and wool. Strick means knitware and the verb stricken means to knit, das Land is the same as the English noun land. Well, so much for the names…luckily Marcus music doesn't sound German at all.

Marcus is a soprano and tenor saxophone player in his mid-twenties and Brotherhood his already his second album (his debut album was At Last). Like its predecessor it's recorded in the quartet setting with Robert Glasper (piano), Brandon Owens (bass) and E.J. Strickland (drums, and Marcus' twin brother by the way). Trumpeter Jeremy Pelt joins the quartet for two tracks. With all nine tunes being original compositions (eight were written by Marcus and Unsung Hero by E.J. Strickland) we really have a talented no-nonsense jazz band here who are serious about their music. Nevertheless, they know they are playing for their listeners as much as they play for themselves and the love of jazz music as an art form. "I think that my group reaches the audience because, although the music we play presents challenge, we are still able to have fun displaying our personality," Marcus says. "Correctly playing a complicated form of music isn't enough to demand attention from a listener. It's the enthusiasm of taking chances, the expression that perks up the listener's ear."

The overall sound of the Markus Strickland Quartet is warm and organic and I especially like the idea of Robert Glasper switching to electric piano on some songs. The result on songs like Splendour is, er, splendid adding some soul into the jazz. In fact, I'm sure fans of the jazz instrumentals of Fertile Ground or the early Roberta Flack will love this song, the introspective Amen or the ballad Excerpts. Marcus Strickland and his fellow musicians are very versatile and of course they can also impress on more traditional jazz songs like the swinging Saouse, the hard bop Values & Predators or Epiphany. It's hard to pick a favourite song from Brotherhood. They are all well-composed and maybe even better interpreted leaving me somehow astonished that this is only the second album of Marcus Strickland and his quartet with all being in their early/mid-twenties.

All in all Brotherhood is a real treasure worth hunting for even three years after its original release because it has that timless quality. A review of Brotherhood (Oct 2003)
CD Review Search
By: Marc Meyers

Look out for saxophonist Marcus Strickland. He's young, he's talented, and he already delivers the goods. His latest CD, Brotherhood , makes the case that he's got a lot to say. It's a varied set that ranges from burning post-bop and modal jazz to a gospel-influenced reflection on 9/11 and spirituality.

Strickland plays both tenor and soprano sax, improvising with a combination of power and finesse, and he never forgets to swing. His tenor sound is quite individualistic, as he fills the horn with a warm, slightly grainy tone. That he's got his own sound at a relatively young age certainly bodes well, although his soprano work is not quite as personal, owing something to Wayne Shorter, at least to my ears. Strickland solos effectively on all nine performances, particularly on "Values And Imperatives," "Predator," and "Splendour." (Eight of the nine tunes are Strickland originals.) He paces himself intelligently, often using short, punchy phrases and building his improvisations to climactic upper register shouts. In short, he tells a story.

The sidemen here are young and on fire, particularly the gifted pianist Robert Glasper, who plays electric piano on four tracks. He really tears it up. Hear how his comping on "Splendour" prods Strickland into a fiery soprano solo. Brandon Owens holds down the bass chair with imagination and swing. Marcus' twin brother E.J. Strickland plays drums, and he's another wunderkind. He does a lot more than play time; he breaks up the time into unexpected, unpredictable rhythm, always serving the music. Trumpeter Jeremy Pelt appears on two tracks, contributing solos to "Values And Imperatives" and "Predator." If you want to know where straightahead jazz is going, look no further than Brotherhood and Marcus Strickland. A review of Brotherhood (May 2003)
JazzReview.com
By: Greg Turner

Currently a member of groups led by veteran drummers Roy Haynes and Jeff "Tain" Watts, Marcus Strickland is one of the most promising young tenor saxophone voices in jazz. On BROTHERHOOD, his second CD as a leader he returns to the studio with his band of equally promising young musicians, twin brother E.J. on drums, pianist Robert Glasper and bassist Brandon Owens, to perform 9 original compositions. Rising trumpet star Jeremy Pelt guest on 2 of the selections, and according to this writer, the promise first shown on Marcus’ debut CD, AT LAST, continues to be fulfilled.

As it is on AT LAST, this CD’s focus is the group’s sound and the quality of the compositions. Marcus, who wrote 8 of the 9 compositions on BROTHERHOOD, plays soprano sax on 5 of the selections, while Glasper plays electric piano on 4 selections, giving the group’s sound some added flavor. With the exception of the hard-bop-with-a-few-twists "Values & Imperatives" and "Predator" both of which feature Pelt, and "Excerpt, an uptempo number based on one of Marcus’ solos that features some intense trading from Marcus and Glasper, the music has an overall laid back quality that builds in passion as the selections develop. Other favorites include "Splendour" , a feature for soprano and electric piano which begins with the rhythm in 4, melody in 3, that segues into a medium fast waltz with a hip ending, the exotic "Amen" featuring E.J. on frame drum and Marcus’ Shorterian tenor solo, the beautiful melody of "Saouse", another feature for Marcus’ soprano sax, and the relaxed groove of E.J’s "The Unsung Hero", fueled by Owens’ big toned bass.

Even though the musicians were in their early or mid 20’s at the time of the recording this is not a CD of youthful muscle flexing. This is a great example of today’s modern acoustic jazz, even with some electric piano, it represents a giant step in the evolution of these musicians and this band, and is one of my favorite CDs so far for 2003. My wish is that these musicians, Pelt included, don’t get too busy playing with others to not play with each other. Review of At Last Downbeat (July 2002)
***1/2
by Thomas Conrad

At Last demonstrates that the Strickland brothers are two of the most promising improvisers in jazz under the age of 25. In performances like the delicately detailed "Iris" (by Wayne Shorter) and the convoluted yet graceful "Serenity" (by Joe Henderson), Marcus displays a gift for assembling long strings of ideas that spark with moment-to-moment spontaneity, governed by logic. As for E.J., he is the most exciting new drummer since Billy Kilson. Like Kilson — and going back further, like Tony Williams or Billy Higgins — E.J. can emit fields of cumulative energy, clouds of feather-touch and heay-handed syncopations, latent with power like an oncoming storm.



Review of At Last
JAZZIZ Review
June 2002
by Neil Tesser

I like the irony in the title At Last (Fresh Sound New Talent) for the first album from saxist Marcus Strickland: Marcus and his identical twin, E.J. (the drummer in his quartet), are in their mid-20's and only arrived in New York five years ago, from Florida. But like two other Florida brothers who went to the Apple ‹ the Adderleys ‹ they've quickly made their mark. They appear together on last year's On the Loose (a new-kids-on-the-bop session from Sharp Nine Records), and they've racked up some impressive individual accomplishments, Marcus with Lonnie Plaxico and the Carnegie Hall Jazz Band ‹ he also placed third in the recent Monk Competition for tenor saxophonists ‹ and E.J. as drummer for Russell Malone's quartet and for vocalist Nnenna Freelon. But their preferred outlet remains Marcus' quartet, an expression of fraternal sodality.

On tenor, Marcus plays with unruffled assurance, avoiding fireworks to concentrate on melody and exposition; on soprano, he gets a fuller sound that balances his serpentine lines. But on this wholly commendable album, he proves himself an able leader by what he doesn't do, which is hog center stage. His example keeps a rein on the other soloists, so the date never sounds like a kids' jam. As you might expect, he also enjoys uncommonly simpatico support from his womb-mate. "There is a lot of superstition about how twins can communicate without saying a word," he opined in a recent on-line interview, "We communicate so well, not just because he's my brother, but also because he is an incredible musician." Review of At Last
Jazzreview.com
April 2002

Having already recorded with bassist Lonnie Plaxico and the Sharp Nine Class of 2001, tenor saxophonist Marcus Strickland makes his debut as a leader with AT LAST. This recording also introduces his working group, consisting of his twin brother, drummer E. J. Strickland, bassist Brandon Owens, and pianist Robert Glasper. On this recording they perform 7 original compositions, a lesser known Wayne Shorter gem, and a Joe Henderson classic, with the results being most satisfying.

The group's members, all in their early twenties, are former classmates at New York's New School of Social Research. Despite their youth they have already shared bandstands with some of jazz's finest. Marcus tours the world as a member of Plaxico's group and is also a member of jazz legend Roy Haynes' quartet. I have actually seen E. J. provide the spark for guitarist Russell Malone's quartet and Owens' big toned bass anchoring tenor saxophonist Tim Warfield's roof raising sextet, while Glasper has performed with the likes of Christian McBride and Louis Hayes. But as the Marcus Strickland Quartet they have their own group identity, and the sound they create here is an important part of this recording's success.

Another thing I really enjoyed about AT LAST is the quality of the original compositions, which are characterized by interesting melodies, shifting meters, hummable piano-bass vamps, and other surprising twists. Marcus contributes the title track, "When In Doubt", and "Gar-zone", all uptempo, and "The Ninth Life", a beautiful ballad. Glasper contributes "Three For Her" a lovely medium tempo waltz, and the aptly titled "Joy Song", while E. J. contributes "February 21", featuring Marcus' only appearance on soprano sax. Even the 2 non-originals are given fresh reworkings. Wayne Shorter's "Iris" originally performed as a ballad, begins with a sax-piano intro before settling into some serious uptempo burn, while Joe Henderson's "Serenity" is taken at a more relaxed pace than the original.

AT LAST is an excellent debut from a talented group of musicians. One can only hope that, in this era of few working bands, these young men can find the time to play together as their individual careers grow and continue to create timeless music as they do on this recording. Review of At Last
allaboutjazz.com
by: Ken Hohman

If Marcus Strickland"s blossoming artistry were judged on his sound alone, he would still merit the attention of the jazz community. That he is also a thoughtful composer and galvanizing force for a crack quartet of spirited young musicians are all the more reason to watch his every move. Strickland possesses a gorgeous, soft tone on tenor that holds true even during his most complex linear explorations. He is influenced by Wayne Shorter and Joe Henderson, but while his playing can reach the same intensity as those legends, he works around the structure of a composition in a much smoother fashion. It"s a precise sound mirrored by the playing of his group with brother E.J. Strickland on drums, Robert Glasper on piano and Brandon Owens on bass. These guys don"t play as much as they glide. On tracks like the disarmingly beautiful "The Ninth Life" and "Joy Song," Marcus spins off the melody and Robert Glasper"s piano heightens the harmonic intensity as they transform each song into an exhilarating journey. On the unforgettable waltz "Three For Her," it"s a joy to hear the two trade melodic statements, particularly Glasper"s hypnotic, understated refrain.

One of the great pleasures of At Last is hearing E.J. Strickland, an inspired drummer in the Tony Williams mold, steer the tempo and guide these superbly crafted songs into new and exciting directions. E.J. is a man in constant motion. On many occasions, I was so entranced by his complex polyrhythms and delicate cymbal work that I kept repeating tracks over and over. Just when Marcus or Robert Glasper are off and running on challenging tracks like "At Last" and "The Ninth Life," E.J. will spur them on with this soft splash from the cymbals that sounds as if he"s hitting an air brake. Like Kenny Clarke"s "bombs" or Philly Joe"s press rolls of the past, E.J. executes these splashes while in full motion, providing added momentum and pushing the soloists to greater heights.

Another striking aspect of At Last is how well conceived the compositions are. The changing tempos of songs like "The Ninth Life" shift from euphoria to melancholy with a natural grace that makes them feel as if they are one continuous emotion. There are surprises at every turn on songs like "When In Doubt" and "Joy Song." And whether tackling the hard-charging 60s Blue Note sound of "Gar-Zone" on tenor or the nocturnal beauty of "February 21" on soprano, Marcus Strickland"s solos are intelligently constructed and executed with passion.

I can"t think of a song on At Last that won"t stay in your head for days. Even the quartet"s cover of Joe Henderson"s "Serenity" has a more memorable quality than the original. But what"s most exciting about At Last is that it marks the arrival of a remarkable young saxophonist and one of the best new quartets in jazz. The telepathy between these players is not to be missed. Excerpt from a review of Myron Walden's Higher Ground (Oct 2002)
AllAboutJazz.com
By: Gerard Cox

Another younger player that is getting a buzz amongst musicians these days of course is Myron's cohort here, the tenor player Marcus Strickland. Since this record, while under Walden's name, basically amounts to a co-billing of Walden and Strickland as featured soloists, it's appropriate to draw attention to Strickland for a moment. For those familiar with Strickland from either his work with Lonnie Plaxico or his debut recording (also on Fresh Sound) this is quite an interesting occasion to hear him play. It offers the opportunity to hear him in a more pared down, essential setting in which, also in lieu of many fast numbers here, his nuance as a soloist is shown in greater relief. He acquits himself very well in this setting, and it begs the question of him doing a trio record.

Hearing these two play against each other though is really the most fruitful thing of this recording. From the outset, they offer a unique contrast in style- Myron, an often-ecstatic, freely inventive soloist with a pointed tone v. Marcus- the more patient, steady improviser with a rather husky, mellow tone. It is perhaps a superficial comparison, but in some ways the contrast between these soloists on Alto and Tenor reminds of Eric Dolphy playing with John Coltrane. The influence of Trane is certainly apparent in Strickland's playing, in spite of the fact that he takes a more steady approach as a soloist. And it's clear that Walden has listened to some Eric Dolphy in his lifetime, in addition to what are probably healthy doses of Jackie McLean and Ornette Coleman. He has a sound that is far from derivative or merely the sum of its influences though, and this is why many are encouraged by his playing. Unlike a good number of neo-bop players out there, Walden actually does seem to have the mark of an original. This is a revelation that bears worth repeating when many question aloud whether there are any original voices anymore. Excerpt from a review of David Weiss' Breathing Room (2002)
AllAboutJazz.com
By: Ken Hohman

It’s also hard to become bogged down in imitation when one has such restless and remarkable young talent as Marcus Strickland, Craig Handy, Xavier Davis, Dwayne Burno and E.J. Strickland on board. Marcus Strickland is far more extroverted here than he is on his fine debut At Last (Fresh Sounds FSNT 101CD), but that is precisely what is called for on driving hard bop tracks like "Kickback" and his own "Parallel Sonarities." His bebop interplay with Weiss on "Sonarities" is just one of many memorable exchanges on Breathing Room. But where the superb playing of this sextet and the virtuosity of David Weiss reach their full synthesis is on the Weiss composition "Getaway." Opening with an instantly memorable theme voiced by trumpet, tenor sax and alto sax, the horns coast on the inventive rhythms of E.J. Strickland until the surprise entrance of electric keyboard. This turns out to be a brilliant decision by Weiss, as Xavier Davis uses his deft touch and the spacey tones of the Fender Rhodes to open up a giant harmonic canvas for the soloists. Each of the players is up to the task, but it is Handy who colors his space most effectively, negotiating sharp turns and creating explorative lines that reach ever higher and higher.

Excerpt from All About Jazz
Review of Sharp Nine's Class of 2001 more..
By: Ted Panken.

... Tenor saxophonist Marcus Strickland rounds out the front line; he and his identical twin, drummer E.J. [b.1979], faithfully attended the Cleopatra's Needle sessions during their undergraduate years at the New School along with classmate Brandon Owens, a bassist with strong time and a penchant for creating melodic basslines who currently plays with Benny Green and Monty Alexander, among others.

The Stricklands hail from Miami, Florida. They received their first lessons from their father, a classical percussionist, who played and broke down for them recordings by John Coltrane with Elvin Jones. Inspired by his band instructor, Marcus begantranscribing Charlie Parker solos at 13, and in high school "went through phases of trying to sound like Joe Henderson, Wayne Shorter and Branford Marsalis."

Particularly on "For Fewer Words," a medium swing fanfare with dense counter harmonies and an attractive melody, Strickland's dark, husky sound and weaving lines evoke Henderson's float-like-a-butterfly, sting-like-a-bee cadences. In 2000 he had the opportunity to soak up the feeling of the late Milt Jackson during a week at Manhattan's Blue Note, and he presently workshops with cutting-edge drum legend Roy Haynes in informal sessions at the maestro's house. A precise drummer with quick reflexes and an orchestrative bent, E.J. Strickland's influence tree begins with Elvin Jones and Jeff Watts, moves to Philly Joe Jones and Tony Williams, and incorporates Hiphop-into-Jazz drummen like Quest Love and Chris Dawes. "My Dad showed E.J. all the rudiments he knew and a few beats, and he took it from there," Marcus notes.