E.J. Strickland Quintet/ Marcus Strickland Trio
Joe's Pub, August 21, 2009
By: Nate Chinen
New York Times
Twin Albums From Twin Bandleaders Inspire a Post-Bop Celebration
The identical twin brothers Marcus and E. J. Strickland, from Miami, have spent most of this decade carving a foothold on the New York jazz landscape. At 30 both are central figures within the present wave of dynamic and open-minded post-bop. Marcus, a saxophonist, and E. J., a drummer, each have impressive new albums that draw on a wealth of references without losing an ounce of clarity or purpose.
Marcus Strickland, second from left, on soprano saxophone with his twin brother, E. J., right, on drums and Miguel Zenón, left, on alto sax, at Joe’s Pub on Friday.
They played in each other’s groups at Joe’s Pub on Friday night, during a tandem album-release celebration for Marcus’s label, Strick Muzik. First up was the E. J. Strickland Quintet, drawing from “In This Day,” an assertive and ambitious debut. The lineup actually involved six musicians: the Stricklands along with the alto saxophonist Miguel Zenón, the pianist Luis Perdomo, the bassist Ben Williams, and the conga player Samuel Torres, who began the set with a dramatic solo overture.
Within moments E. J. took over, setting up a busy and acute-angled Afro-Cuban groove. The band settled into “New Beginnings,” one of his sharper originals. Rhythm is a pliable element for E. J., and he made it a driving concern throughout the set, with forceful but slippery drumming. He often linked one tune to the next with a forward-tumbling solo, using the dark shimmer of his cymbals for texture.
Yet there was space for meditation in his album’s title track, a ballad featuring his brother on soprano saxophone. And at times E. J. showed his earnest intent to write music with an emphasis on melody rather than rhythm. “Eternal” struck a good balance, with a line played in unison by both saxophones over a drifting polyrhythmic swing. When there was a change in meter, it felt determined by the shape of the line.
A similar but sparser quality animates the Marcus Strickland Trio, with Mr. Williams on bass and E. J. on drums. More than a few times during the group’s succeeding set — which featured music from “Idiosyncrasies,” Marcus’s rewardingly focused third album — there was a sense of melody dictating form.
Marcus’s leadership had much to do with this: on soprano saxophone as well as tenor, he expressed a relaxed authority, putting weight and presence behind his sound. On “Portrait of Tracy,” by Jaco Pastorius, he worked a short motif into a sound structural device. On “Scatterheart,” a Bjork composition, he dwelled mainly in his soprano’s fat middle register, annotating a funk-based pulse with well-considered phrases.
But what was best about his set was the sturdy rapport of the trio, especially on aggressively swinging originals like “Set Free” and “Cuspy’s Delight.” Playing tenor on those themes, Marcus advanced a muscular but nimble style, responding as much to his partners as they did to him.
Marcus Strickland Twi-Life Group
Jazz Standard, Apr 3, 2007
By: Budd Kopman
All About Jazz
Marcus Strickland is very personable and quite savvy business-wise, and the Jazz Standard was almost full for the early show. Cephas Bowles and Thurston Briscoe of WBGO Jazz Radio in New York City were in attendance, besides the many vocal fans in the audience.
Strickland has created a lot of buzz with the recent release of the double CD Twi-Life on his own label Strick Muzik, and on this show he brought the sound of the band that appeared on the second record.
The music consisted mostly of tunes for his new project Open Reel Deck, which was being recorded live, and represented an evolution of the sound of the music and band from the earlier album.
Jazz to me is really more of an ethos rather than a style, and a jazz performer creates music that is more or less improvised, expressing his or her being in real time. The style is less important, but useful in terms of applying a label that might, to some degree, give an idea of what the music sounds like. While racial politics should not really have a place in music, the life experience of the performer most certainly does. When speaking about his new project, Strickland said that the title came from a piece of audio equipment used in his parent's house, and thus the music that he heard as a child.
The music was very powerful, with some of the deepest grooves I have heard in a long time. The extremely solid team of Henderson and E.J. Strickland laid down African rhythms combined with funk as Henderson played long vamp lines that had a strong accent on the first beat of the measure. Without even a hint of "swinging" triple time, the rhythm section created an extremely strong-body feel, which all the musicians, especially the trumpeter Harrold, and the audience could not help but move to.
Floating on top of this undulating river of sound was Moreno's guitar. The music's harmony was predominantly static, or at most circular, and the tremolo, cloud-like chords created an interesting contrast with the dark bottom. Strickland, Harrold and Moreno played extended solos, usually after the head was introduced by the sax and trumpet.
Strickland met Malachi on MySpace, liked his hip-hop influenced poetry, and brought him into the project. Having a very powerful voice with extremely clear diction, Malachi's word rhythms added yet another layer to the music as they interacted with the groove that was in place.
The total effect of the sound of the band was a deeply satisfying mix of body and mind, and much of the first-set crowd stayed on for the second set.
Marcus Strickland Quartet at the Rubin Museum of Art, Nov 3, 2006By: Christopher Lams
Jazz Improv Magazine
In New York City, we as jazz fans experience something very unique. We have the opportunity to hear so many great jazz musicians on any given night. The pot is always sweetened when the artist is in a fine venue as well. On this fall evening we had both elements covered. The Rubin Museum which has become one the top venues in New York City to experience jazz performances. It comes with an acoustic-only room, and Himalayan visuals that soar by on the wall during the performance. Saxophonist Marcus Strickland with his Twi-Life Group is the featured group on the bill this evening, as part of the Harlem in the Himalayan's Series. Strickland & the Rubin proved for a great night of jazz.
Strickland's Twi-Life Group is one of the most exciting new ensembles on the scene today. With his twin brother EJ on drums and turnstile exchange of the bass and piano chairs, this group always has a fresh approach to Strickland's compositions. On this evening the piano chair was filled by Robert Rodriguez and the bass post was held by Luques Curtis.
The two hour set opened with "The Way of the Y" which demonstrated the exceptional ability of Marcus Strickland. He not only is one of the top composers on the scene today, but he is also a premier saxophonist. Next up on the set list was "The Beast within the Beauty" and "Splendor" which gave the entire ensemble there moments to excel. EJ Strickland on drums is clearly one of the tops in the jazz scene today. His expressionistic approach has him shift ing gears throughout each composition. His connection with brother Marcus is also apparent. They seem to think as one on the band stand.
Strickland continued with an arrangement of Billy Strayhorn's "Chelsea Bridge" which was simply brilliant. Bassist Luques Curtis came up front to add some of the sweetest bass tones I have heard on the live side in some time, and Robert Rodriguez moved up and down the eighty-eights to give this classic the right sentiment. The group took a moment to dedicate a composition to the theme of the museum, which is Himalayan art. Th e piece "Ascent to the Tibetan Plateau" clearly showed the infl uence of Wayne Shorter on Mr. Strickland. His atonal structure during the piece with Tibetan images being flashed on the back stage wall was one of the highlights of the set.
The evening closed with two exceptional Strickland compositions "Amen" and "Sesame Street." We are not referring to the Sesame Street theme song here, but a restructure of the chords to the original kids television theme which Strickland then called his own.
Strickland has a creative mind, the ability to compose, and had all those in attendance in the palm of his hand for this full two hour set. We will be hearing much more from this new saxophone giant in the years to come.
Jeff "Tain Watts Quartet at the Dakota, Jul 18, 2006By: Dan Emerson
Pioneer Press
Even though drummer Jeff "Tain" Watts has spent much of his career in a supporting role to more high-profile musicians – such as brothers Wynton and Branford Marsalis – his unique, post-bop percussion style has often drawn the spotlight his way.
But, leading his quartet in the first of a two-night stand Tuesday at the Dakota Jazz Club, the former Tonight Show drummer still demonstrated that he may make his greatest contributions by complementing and bringing out the best in the other musicians onstage.
Watts opened the early set with his clever re-arrangement of Icelandic singer/songwriter Bjork's minor-key tune "107 Steps." The piece showed how much harmonic complexity a saavy arranger could build out of the bare-bones structure of a simple pop tune.
The star soloist of Watts' current group is young tenor saxophonist Marcus Strickland, who showed why he is one of the most highly regarded saxmen of his generation. Strickland is accustomed to backing adventurous drummers, having recently completed an extended stint with ageless wizard Roy Haynes.
On the opening tune, Strickland blew an extended solo that was evoked the late, great John Coltrane in its tonal range, complexity and fluidity. Then Watts led the combo through "Ling's Lope" an as-yet unrecorded piece he wrote for sometime band-boss Branford Marsalis. The tune included some quirky spaces and abrupt stops that recalled the composing style of the great Thelonius Monk; Strickland's tenor tone also recalled that of longtime Monk sideman Charlie Rouse.
Watts propelled the swinging tune with usual verve, accenting the backbeat with some crisp rimshots, one drumstick laid flat atop the snare drumhead.
Watts' group also includes another member of Branford Marsalis' combo, acoustic bassist Eric Revis, whose rhythmic synchronicity with Watts is undoubtedly the product of many nights together on the bandstand.
Watts' quartet includes his latest "discovery" 20-something pianist Lawrence Fields, whose expansive soloing showed the influence of mid-'60's Herbie Hancock and later McCoy Tyner, but still contained some surprises.
On the next Watts composition, a tribute to Stevie Wonder called "Stevie in Rio," Fieldsused synthesizer to emulate Wonder's trademark harmonica sound, while playing chords on the grand piano with his left hand.
Strickland switched to soprano sax and shoed an impressive mastery of the challenging, straight horn, maintaining a flawless, smooth tone even while playing the upper register.
Watts used a pair of mallets to launch the spiritual, Coltrane-like "Attainment," hammering out some low tones on his snare and bass drum. Bassist Revis used a bow to add some unusual, cello-like colors to the mix.
The set closed with Watts' instrumental ode to distilled intoxicants, "Vodville." As he did throughout the set, the fun-loving Watts impressed with his ability to hammer out drum thwacks and cymbal taps that not only answered but often echoed the phrasing and notes being played by the horn and piano soloists. It was a reminder that one of the requisite skills for any top-flight jazz musician is being a great, untiring listener.
Marcus Strickland CD Release Party at the Jazz Gallery, May 19, 2006By: Nate Chinen
The New York Times (Listings)
Mr. Strickland, a 27-year-old saxophonist, has recently logged some memorable sideman hours. A month ago, he could be heard in a semiprivate showcase for the veteran drummer Michael Carvin at Bergdorf Goodman; a month before that, he played the Village Bvanguard with another veteran drummer, the legendary Roy Haynes. And in February at Zankel Hall, he stood out in a band led by the trumpeter Dave Douglas. On all three occasions Mr. Strickland, above, demonstrated a strong but malleable tone, a relaxed yet resolute sense of time and a knack for well-contoured improvisations. The only asset not readily apparent was the appealingly simple compositional savvy that suffuses "Twi-Life" (Strick Muzik), Mr. Strickland's self-released new album. It's a quartet album, or a quartets album, to be precise: Mr. Strickland offers one disc with Robert Glasper on piano, Vicente Archer on acoustic bass and his twin brother, E.J. Strickland, on drums, and another with Lage Lund on guitar, Brad Jones on electric bass and his brother once again. The two ensembles, which play successive sets tonight at the Jazz Gallery, have noticeably different sounds. The acoustic quartet can be either fierce of fluttering, like the old Branford Marsalis Quartet, a clear influence. (On an original called "Sesame Street", Mr. Strickland effectively reveals that he had a bigger childhood hero than Big Bird.) The electric band, dubbed Twi-Life, is generally airier, with a mellow groove. But both groups give some sense of Mr. Strickland's seemingly natural composure at the helm, a gift that's sure to come in handy as he fully outgrows his apprentice phase.
Marcus Strickland "Twi-Life" Group Live at the Zinc Bar, April, 2006By: Russ Musto
AllAboutJazz.com
Saxophonist Marcus Strickland took a break from his busy schedule as a sideman with Roy Haynes and Jeff "Tain" Watts to bring his new electric quartet, Twi-life, into the Zinc Bar (Apr. 12th) for an evening of energetic contemporary music. The young group, featuring new guitar star Lage Lund, with Brad Jones on 6 string electric bass and the leader's twin brother E.J. on drums, began their second set with the leader's "Majesty", a rhythmic outing that showed off the band's cohesive sound. The composer's thick dark tenor opened the piece with a short unaccompanied introduction before being joined by his colleagues. Lund's open approach, alternating crisp single notes with sustained chords, liberated the tenor to soar above the band, unfettered by conventional chord changes - Jones' deep bottom blending beautifully with the guitar as the drums danced freely around. A second original, "Haile Selassie", with its mazelike melody and shifting angular rhythms had tenor and guitar soloing intensely over bass and drums. Brother E.J.'s "In Faith", a Middle Easternish melodic line with alternating ominous and optimistic moods inspired Marcus' tenor into shrieking with commanding modality. The saxophonist's "Nottage Cottage", a funky dedication to a "soulful uncle" had audience members dancing in their seats to the gritty sound of his horn. The electrifying group ended the night with each member soloing during a powerful performance of Wayne Shorter's "Prince of Darkness".
E.J. Strickland Project Live at the BAM Café, January 7, 2006By: Brian Lonergan
AllAboutJazz.com
The E.J. Strickland Project arrived at BAM Café (Jan. 7th) for an excellent set that balanced energy with control, intelligence with soul. Along with E.J. on drums, the Project featured his twin brother Marcus (tenor and soprano saxes), Myron Walden (alto sax), Lage Lund (guitar) and Ugonna Okegwo (bass), while joining them on vocals was the young singer Charenee Wade. E.J.'s contemporary-flavored "Praise Song for Marcus" inspired a soulful soprano solo from Marcus over the piece's ever-upward chord progression. On the group's cover of the Ellington-Strayhorn tune "Daydream", Wade introduced the packed audience to her powerful and beautiful voice, which was strong when plunging deep and smooth when reaching high. E.J. prefaced his composition "Lydian Fantasies" by proposing that one's "compositional flaws" - the tendency to depend on something too much - was a sign that the flaw was actually integral to one's voice. The piece's angular and quirky melody was fitting given its title, with E.J. at his most animated as he propelled Marcus' searching tenor solo. The night's second cover was Stevie Wonder's "Ribbon in the Sky", where E.J. showed great sensitivity on the drums, picking up on the emotional crescendo of Walden's alto solo, spurring him on while anticipating (but not announcing) the solo's denouement, which gave way to a flirtatious exchange between Wade's vocals and Walden's alto.
By: Triniman's Blog
Roy Haynes and Ed Thigpen are two of the most respected, longest-playing jazz drummers in the world. Haynes, born on March 13, 1925 (80) and Thigpen, December 28, 1930 (75), both received the kind of adulation and applause reserved for living legends.
It came as no surprise to see Ed Thigpen receive a thunderous welcome from the audience when he walked on stage. Known for his drumming style with brushes, Thigpen spoke clearly, and drummed confidentaly. "Mr. Taste", as he is known, surrounded himself with young performers, who knocked themselves out to impress their boss and the audience.
The most sterling example of talent for me, came from pianist Kasper Villaume. This guy was reminded me of Michael Kaeshammer, by his ability to pick out the most appropriate, sparkling notes, to match the mood of the moment. Obviously a performer more than just a musician, Villaume acknowledged that audience's applause time with huge smiles. I have one of his CDs on order and I would not be surprised if he decides to lead his own band full-time and leave the spotlight of playing with Ed Thigpen's band. Some of the compositions played inclueded Shake It Out, Thaddeus, It Might As Well Be Spring, and Fast Train.
The group, known as the Scantet, was rounded out by Jens Winther (trumpet), Tomas Franck (tenor sax), and Jesper Bodilsen (bass), all established Scandinavian players. Poney-tailed Franck reminded me of the look of Bleeding Gums Murphy.
Dressed in what almost looked like golden pajamas, Roy Haynes also received a thunderous applause when he walked on stage. He gave a more hyperactive performace than his younger colleage, Ed Thigpen. Armed with a younger ensemble, including dreadlocked sax player Marcus Strickland, Haynes put on a flashy show, full of energy. Before speaking with the audience, he grabbed the microphone and began to tap out a rhythm, and then engaged the audience to participate, getting the men and ladies to play different parts.
Marcus Strickland didn't crack a smile until much later on when Haynes made a joke, but he played superbly and was the most notable musician to me. Pianist Martin Bejerano and bassist John Strickland both met every challenge with the type of dexterity and control fitting of experienced soloists and recording musicians.
You can imagine the audiences response when he came back on stage at the very end for the final bow and announced that not only was he close to tears for the incredible adulation shown by the audience, but that he turned 80 years old this past March!
July 12, 2005
By Tim Withee (Auburn, WA United States)
5 stars
I had to see Roy Haynes the last time he was in Seattle. Mr. Haynes and his band were superb and I was knocked out by these tremendous young musicians he had for sidemen—most notably, Marcus Stickland on saxes.
Not only did I purchase the latest Roy Haynes effort, I searched out sides by Marcus Strickland as well. The first one I purchased was "Brotherhood."
The other reviewer did a fine job describing the tunes, so I'll be brief on that score. My favorite is "Values & Imperatives," which does have a neo hard bop sound. It almost reminds me of Bobby Watson. That cut aside, this album is a very strong, serious work by Strickland and his cohorts. Strickland's lines and arpeggios are pure, complex, melodic, soulful and flow beautifully. His bandmates support him with power, style and ability and there isn't a real weakness on this CD that I could hear. I agree with the other reviewer that Robert Glasper makes a major contribution on keyboards. Brandon Owens on bass and E.J. Strickland on drums make up the rhythm section and also shine brightly.
There's nothing that's too "hip" or pretentious about this CD—it's just great work that you know comes from the he art. Strickland and people like him are the new young lions of jazz and it's great to know the torch has been taken up by such fine artists.
Indeed, it's fortunate that the great Roy Haynes is yet with us—and one reason among many, is that he is providing a showcase for these great young players.
My bottom line is this CD is a terrific effort by Marcus Strickland and his band and well worth adding to your collection if you're into this kind of music.
 Detained at the Blue Note - Jeff "Tain" Watts |
(w/ Marcus Strickland, among others...)
Half Note Records
October 2004
By: John Kelman
From drummer Jeff “Tain” Watts' introduction to the live recording Detained at the Blue Note--”Hey everybody, it's Saturday, let's get loose!”--you know this is going to be a fun event. With a group that includes the ubiquitous pianist Dave Kikoski, bassist Eric Revis, who works with Watts in Branford Marsalis' band, guitarist Dave Gilmore (not the “Pink Floyd” David Gilmour), tenor saxophonist Marcus Strickland and, guesting on three tracks, alto saxophonist Kenny Garrett, the ingredients are all there for a performance that bristles with excitement. And bristle it does, as Watts and his group work through five pieces that, at over seventy minutes, are extended workouts with plenty of space for everyone to blow.
Starting with a clever interpretation of Björk's “107 Steps,” Watts shows that it is, indeed, possible to reinvent a pop tune into something that retains the flavour of the original while, all the while, swinging hard. Strickland, a player who is in increasing demand these days, is an energetic player with an impressive rhythmic bent. Gilmore's solo shows just how underappreciated he is outside of music circles; when the tune settles into its irregular-metered ostinato he plays with fire that crosses a straightahead bebop approach with a taste of M-Base. Watts, also soloing over the ostinato, demonstrates how he is the torch-carrier for Art Blakey and, most notably, the recently-departed Elvin Jones, while at the same time incorporating a subtle sense of hip hop that makes things swing in a completely modern way.
”JC is The Man” starts as a light-hearted swing with a simple theme that everyone treats as a round, but before long it's an “everyone-in-the-pool” piece of collective improvisation that is notable for the incredible communication between Strickland, Gilmore and Kikoski... more »
 November issue of JazzTimes |
JazzTimes Magazine
November 2003
By: Thomas Conrad
Last April, in a review of a Marcus Strickland appearance at a Brooklyn jazz festival, Ben Ratliff said in the New York Times, "Never forget that New York is always full of impressive young jazz performers, and that it often takes them a while to become visible in Manhattan."
While many scuffling New York players might find Ratliff's observation understated to the point of cruelty, it does happen to apply to Ratliff's subject. Only two years out of college - only "a while" - Marcus Strickland has started to turn heads in the most thriving but most competitive jazz scene on the planet. This progress began with his first album under his own name, At Last, which appeared on the Fresh Sound New Talent label in 2001, when Strickland was 22. It was an auspicious debut, not only for the energy and excitement of the leader's work on tenor and soprano saxophones, but for the obvious talent of the other three young members of the band: pianist Robert Glasper, bassist Brandon Owens and drummer E.J. Strickland (Marcus' twin brother).
Strickland's new album, Brotherhood (also on Fresh Sound New Talent), employs the same personnel. It is even stronger, revealing growth on all fronts: in composition (Marcus wrote eight of the nine tracks; E.J. wrote the other), improvisation and ensemble cohesiveness. Strickland appears ready to assume the relatively rare position of a soprano saxophonist for whom tenor is a second instrument. He plays soprano on five tracks, and his work on pieces like "Splendour" is riveting. His improvisations come like a series of ascensions, releases of streaming ideas that accumulate until they plateau, gather themselves, then spout and spiral upward again to the next plateau. What is most immediately striking is his tone: liquid and luminous, yet forceful and exact. When asked what soprano players he likes, he does not hesitate: "Branford Marsalis. I really love Lucky Thompson also, and Steve Lacy. I like a warm sound. I have learned the most from players who approach the soprano as its own instrument rather that just an extension of the tenor."
Brotherhood's "Excerpt" demonstrates that he is also fully articulate (and more inclined to extremity) on tenor, and further demonstrates that, to a degree rare in our current era, Strickland's quartet functions as a single ensemble entity. After the tight, quick opening, Marcus and Glasper hurl themselves at one another like two opposing football players at the line of scrimmage, while E.J. and Owens clatter and throb in agreement and contradiction.
Strickland's sax playing possesses qualities of daring and restless urgency that are expected in the work of a gifted 24-year-old. But it also reflects an uncommon maturity in its measured pace and sense of proportion and emotional authenticity. He attributes his rapid development to his father. "he introduced me to this music. He saturated me and my brother with it. My father is a lawyer and a classical percussionist with impeccable chops and a connoisseur of many things - most of all music. He had all kinds of music playing, all the time, around the house: jazz, R&B, heavy metal, Jimi Hendrix. I'm sure my brother and I were overhearing music in the womb."
The Strickland brothers grew up in Miami, Fla., left for New York right out of high school and matriculated at the New School University's jazz and Contemporary Music Program, from which both graduated with BFAs in 2001. Marcus studied with Reggie Workman, Billy Harper, Patience Higgins and George Garzone. "It was a very good springboard and networking place for us," Marcus says. "New York has changed. I think school has replaced the streets in terms of networking." He has already had opportunities to tour with Roy Haynes, Jeff 'Tain' Watts, Lonnie Plaxico and David Weiss.
Strickland says, " I can't wait to start touring with my quartet. We're just some young punks out there trying to learn more about this extremely complex music, which has so much history, so much depth to it. We're trying to make a sound. And that's a very sensitive thing, because a lot of people these days are what I call 'conscious innovators.' They're so worried about being the next innovator that they forget the reason they started playing the music in the first place - which is simply that they enjoy playing it, they enjoy that melody, that rhythm. I think it really shows when someone is consciously and forcefully trying to innovate. Should that be the main purpose of playing this music, or should it be the pure enjoyment of it? I think that the people in my quartet have come to a collective agreement of where we stand on that question."
Jaleel Shaw & Marcus Strickland Group - PROSODY
The Village Voice: Voice Choice's- Music
July 16 - 22, 2003
By: Macnie
It's another two-reed front line of young dudes who like to tear it up while sustaining a sense of lyricism. Shaw's an alto player who's milked Berklee for its smarts and impressed excitement junkies with the Mingus Big Band. Strickland's a tenor titan in the making; his lines change smoothly, and his modes perpetually morph. Their passionate freebop becomes more authoritative with each new season.
JAZZ FESTIVAL REVIEW '24/7 JAZZ BROOKLYN'
A Festival Pops Up From Brooklyn's Underground
New York Times
By: Ben Ratliff
In the 1950's and 60's Brooklyn was a stronghold of jazz performance, but that's no longer true. Still, a constellation of little places clubs, bars, nonprofit storefront arts presenters, music schools, churches and so on have joined forces to present 24/7 Jazz Brooklyn, the first boroughwide jazz festival.
The festival runs through this month. On Thursday night two young band leaders, the saxophonist Marcus Strickland and the pianist Robert Glasper, had gigs in different places, both within the festival. The underground jazz scene in New York has some cohesion: both musicians have used the same sidemen, and both recently released a first CD (as band leaders) on the Fresh Sound label. Both performances were advisories: never forget that New York is always full of impressive young jazz performers, and that it often takes them a while to become visible in Manhattan.
Mr. Strickland's set, at Sista's Place in Bedford-Stuyvesant, included a few originals a tune with an amiable, funky theme in five-beat rhythm called "Thump and Cadence" and the ballad "Splendor." Otherwise it was heavy on standards. But in his own patient way this is a musician who earns your trust, never blustering or throwing notes away he changed them.
Ornette Coleman's "Blues Connotation" was taken rather formally, as a bop standard. But the really outstanding performances were on two war horses that always elicit audience applause, if not necessarily committed reinterpretations. His "Body and Soul" began with unaccompanied tenor saxophone, using a light, pretty sound, sauntering comfortably into the horn's highest reaches his tone and legato resembled Mark Turner's here then bombing down into the bottom end.
He began his version of John Coltrane's "Giant Steps," an étude to demonstrate speed and the navigation of difficult chord changes, subversively: with ballad phrasing and lots of space between ideas. There was fluid improvising here, with as much floating rubato and playing outside the tune's harmony as driving, eighth-note swing inside the grooves; Mr. Strickland has breadth and balance.
At the Up Over Jazz Cafe, Mr. Glasper was exploding songs into fantasias. There is a little Keith Jarrett in him, not only because he ignores any boundaries that may lie between traditional postwar jazz piano and freer, more gestural playing, but also because he gets wrapped up in the music, continually changing its mood, its tempo, its overall hue. They were dramatic performances, impressively articulated.
With Darryl Hall on bass and Damion Reid on drums, Mr. Glasper proceeded this way through his own tunes, as well as "Have You Met Miss Jones?" (which, after a time, became Monk's "Think of One") and "In a Sentimental Mood." In Monk's "Straight, No Chaser," Mr. Glasper invited two young trumpeters, LeRon Thomas and Keyon Harrold to burn up the tune; they wove through the harmony, then let go of it entirely, then snapped back in, barreling through with the kind of assurance that only comes with youth and skill. Musicians rarely sit in anymore at the big Manhattan clubs. Maybe it's a Brooklyn thing now.
Excerpt from A Shining Light in the Big AppleAn interview from jazzreview.com
Interview by: Suzi Price
New York City was the attraction that tenor/soprano saxophonist, Marcus Strickland, was drawn to like a magnet. Relocating from his hometown in Miami, Florida, New York dangled the proverbial jazz carrot that would further his musical education and place him smack-dab in the heart of America's jazz scene. Since moving there in 1997, Strickland has be seen at notable jazz spots around town, like the evening I saw him at the Blue Note playing with Tom Harrell. Marcus immediately caught my attention. "This young musician has real expression and feeling," I though to myself, delighted at the prospect of finding out more about him and following his growth.
Marcus Strickland has performed with notables Tom Harrell, Wynton Marsalis, Winard Harper, Mark Whitfield, Roy Haynes, Donald Edwards and the Lonnie Plaxico Group. But, he has found a special cohesive magnetism with his own quartet, which includes his identical twin brother, drummer E.J. Strickland, pianist Robert Glasper, and bassist Brandon Owens. "At Last," Strickland's maiden voyage as a leader, is a creative exploration that offers spectacular results for the listener and an insight into thoughtful, high-energy compositions from both Marcus and E.J.Strickland and pianist, Robert Glasper. more...
Washington Post Review 0f Raynes Haynes - featuring Marcus Strickland at Blues Alley
By: Mike Joyce
June 19, 2001
"Happy Father's Day," someone shouted to Roy Haynes during the late show at Blues Alley Sunday night. "I'm a great-grandfather now," beamed the legendary 75-year-old drummer who continues to play with extraordinary power and finesse.
Over the course of two sets, Haynes and his trio alluded to the remarkable span of his career by playing tunes composed by some of his notable collaborators, including Thelonious Monk and Pat Metheny. Monk's "Trinkle Tinkle" quickly proved to be something special, its jagged contours dramatically underscored by Hayne's resounding and synchronous attack. In sharp contrast, the opening set included a haunting reprise of Billy Strayhorn's "Chelsea Bridge," a performance soulfully sustained by Marcus Strickland on tenor sax and shaded by Hayne's atmospheric use of brushes. In addition to Strickland, who made a strong impression on tenor and soprano saxes, the band included a pair of musicians who both challenged and complimented the drummer - pianist Jason Lindner and bassist John Sullivan. The combination of Lindner's blues-and-bop vocabulary and Sullivan's resonant tone and expressive bow work clearly inspired Haynes, so much so that he sometimes jumped off his stool with delight.
In the end the audience, which included several wide-eyed drummers, wouldn't let Haynes go. His planned finale, a soprano sax reprise of "Summer Nights" featured a drum solo that combined thunderous rolls with quick-witted high-hat interjections, was followed by a similarly exhaustive and inventive performance of Dave Kikowski's "Inner Trust."