Following up his essential album with the WDR Big Band, Köln, and his 2020 release, Waiting To Continue, Marshall Gilkes latest coup de maître is a stunningly beautiful and captivating suite of music, titled Cyclic Journey, available on September 30. On Cyclic Journey Gilkes uncovers and explores the elements of his own journey. “I wrote the music for this album in March and April of 2022, but I’ve had this idea – to bring these two worlds together – for quite some time,” Gilkes explains. “And in terms of the theme, it really came to light through reflection on what’s most familiar to me. That’s how I arrived at the idea to write a soundtrack to my daily external and internal existence.” Gilkes’ daily existence means being able to deliver on a very high level in a multitude of musical situations and partnerships, which he does with a quite uncommon flexibility, and command of his instrument; and taking care of his family as a dedicated father and husband.
The ensemble on Cyclic Journey is an accomplished and unique band, and they bring Gilkes’ vision to life in remarkable ways. Pianist Aaron Parks, bassist Linda May Han Oh and drummer Johnathan Blake could be thought of as a modern day version of “the rhythm section,” so cohesive and powerful is their union (as many know, the original “rhythm section” being Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums). Integrated with this dream quartet, is a brass octet comprised of a who’s who of classical heavyweights, including trumpeters Brandon Ridenour (of Canadian Brass fame), Ethan Bensdorf (from the New York Philharmonic), and the omnipresent Tony Kadleck (a much in demand lead player in the Big Apple), horn player Adam Unsworth (Professor of Horn at the University of Michigan and a former member of the Philadelphia Orchestra), the legendary Joseph Alessi (longstanding Principal Trombone in the New York Philharmonic), bass trombonist Nick Schwartz (from the New York City Ballet), euphonium ace Demondrae Thurman (Chair of the Brass Department at Indiana University), and king of the tuba, Marcus Rojas, who has held down the low end for everybody from Henry Threadgill to the Metropolitan Opera. “I feel like with this project it’s not just about the combination of two groups or ideas, but the musicians themselves. Linda’s sound on the bass is just so incredibly pure. Aaron’s touch on the piano, evident, for example, in the way he takes over after that fanfare on ‘Go, Get It!,’ is beautiful. The way Johnathan plays and orchestrates everything just elevates the music. And I have the ultimate cast of characters with these brass players. I feel like I’m very lucky that I was able to bring together the perfect group of people,” says Gilkes.
The nine movements on Cyclic Journey reflect the elements of Gilkes personal and professional life. “First Light” opens with a gentle chorale (Gilkes composes the hippest, emotive Chorales, which are featured throughout the album), capturing the optimistic mood of a quite house, very early in the morning, while the rest of the world is seemingly still sleeping. “That’s really a piece about the gears of life starting to turn at the beginning of each day,” explains Gilkes. “Up and Down” is about moving out into the world, putting things in play with a hip, understated groove. “The Calm” is an aural depiction of one being able to catch their breath, and on this movement we hear the perfect integration of jazz quartet with classical brass octet in all its glory. Contrasting “The Calm,” is “Go Get It!,” a call to action, the fanfare an announcement of great things to come. After the lovely serenity of “Respite” our hearts are racing again with “Beat The Clock,” which is about having too much to do, and not enough time to do it! Check out “Genre Battles,” which offers contrasting brass octet sections against the jazz quartet absolutely burning over Rhythm Changes, demonstrating, to great effect, Gilkes’ impartial love for these idioms. “I’m honestly someone who adores classical brass playing, but also loves jazz,” says Gilkes. “Musings,” and “Cyclic Journey,” are the resolution and the afterglow, expressing joy and satisfaction, and two examples of Gilkes’ gorgeous sound, his gift as a composer, and his melodicism. The bonus track, worth the price of admission alone!, is one final bow to brass grandeur, as Gilkes and his fellow horn men bring down the house with “Sin Filtro,” (Unfiltered) which boasts some of the leader’s signatures – extreme register jumps, strong melodies, sophisticated harmonies, rhythmic intensity – it’s a Spanish-tinged stunner that spotlights this unbelievable collection of slide and valve virtuosos. – Dan Bilawsky
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