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| 5.100 Ft
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| 1. | Soul Mates
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| 2. | Exploration
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| 3. | Reflecting Mirrors
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| 4. | Imperfect Balance
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| 5. | Two Rocks By The Shore
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| 6. | Harvest Time
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| 7. | Alone
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| 8. | Time And Circumstance
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| 9. | Memories Of One
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| 10. | Eternal Dialogue
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| 11. | In Retrospect
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| 12. | Optimism
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| 13. | When Fire Meets Moonlight
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| 14. | Renewed Vision
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Jazz
Post-Bop
Hard Bop
Stride
Recorded: Mar 4-6, 1996
Pianist Marcus Roberts and his fine trio (with bassist David Grossman and drummer Jason Marsalis) perform a 14-song original suite on this CD that traces the ups and downs of a longterm love affair. Roberts, who is one of the more versatile of today's pianists, plays quite modern throughout the date while always swinging. The music is sometimes dramatic, at other times wistful or introspective, but rarely loses one's interest. It is doubtful if any of the themes will catch on as future standards (none of the melodies are all that memorable) but taken as a whole this is a thought-provoking and enjoyable set.
---Scott Yanow, All Music Guide
Marcus Roberts
Active Decades: '80s, '90s and '00s
Born: Aug 07, 1963 in Jacksonville, FL
Genre: Jazz
Styles: Christmas, Contemporary Jazz, Hard Bop, Post-Bop, Ragtime, Standards, Stride, Swing
Marcus Roberts is a very talented -- if very raw -- young musician, whose good fortune it was to capture the attention and goodwill of the all-powerful Wynton Marsalis. Roberts is one of the generation of young African-American jazz musicians who seems bent on forging the future by reinventing the past; his infatuation with older forms renders his music a pastiche of obsolete styles. Roberts is a gifted mimic, though his adoption of his idols' surface mannerisms does not penetrate to the essence of their art.
Roberts is without sight; he attended a school for the blind near his childhood home of Jacksonville, FL. He began playing piano in his youth, and studied the instrument at Florida State University in the mid-'80s. Roberts replaced Kenny Kirkland as Marsalis's pianist in 1985. He recorded as a sideman with the trumpeter through the rest of the decade and into the '90s, while at the same time making records under his own name for Columbia. Roberts became Marsalis's aide de camp at Jazz at Lincoln Center, writing and arranging extensively for the house big band, and participating in most of the cultural center's activities variously as a composer, performer, or teacher. Roberts is an outspoken proponent of jazz traditionalism; he has little patience for styles of jazz that lie outside the narrow parameters set down by his mentors. His lack of interest in expanding jazz's creative possibilities causes his music to have a hermetic quality, which is unfortunate, because one gets the feeling by listening to his recent compositions that, were Roberts to broaden his horizons a bit, he might be capable of doing excellent work.
---Chris Kelsey, All Music Guide |
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