Last night jazz pianist Marcus Roberts saved the Duke Jazz Ensemble from itself.
The ensemble, which earlier in the year gave stirring concerts with the likes of drummer Ralph Peterson and saxophonist Peter Yellin, could not seem to muster the energy needed for an impressive close to the season.
The one saving grace, however, was the excellent play of Roberts. He seemed to be the only one who actually wanted to be there. His soulful play led the otherwise listless ensemble and was probably the only reason why the audience asked for an encore.
The concert, held in Baldwin Auditorium, began with a tune by the ensemble that commemorated the life of Dizzy Gillespie. The dynamic beat soon gave way to a sluggish meandering that really did not seem to go anywhere at all. Even the solo of alto saxophonist Todd Bashore, Trinity junior, who in the past has been utterly astounding, lacked much of his usual energy.
The other soloists performed similarly. None of them could seem to find his rhythmical niche; everyone seemed to be just slightly behind the beat. The audience response indicated the sub-standard level of play. There was a smattering of applause for each soloist, but it was nowhere near the kind of resounding fervor the audience has displayed for the ensemble in the past.
The ensemble then left the stage, making way for Roberts, who played alone. He began with a probing, gentle piece called "I Didn't Know What Time It Was" that had an almost ethereal feel to it.
His second tune, "Cherokee," made popular by Charlie Parker, contained an impressive dichotomy. He started playing in the bass and then gradually introduced the melody with his right hand. It was like listening to two different songs at the same time. The piece became more upbeat and intense towards the end. As Roberts' hands came closer together, they seemed to be fighting for control of the keyboard. His fingers became a blur as the song climaxed to an intense end, which evoked thunderous applause from the audience.
After two more excellent solos, the ensemble returned to the stage. At first, it seemed as if the presence of Roberts would inspire the group to perform at its usual level. However, the revitalized spirit soon dissipated, and the ensemble again became unfocused.
But all was not lost. Roberts invited trumpet player Marcus Printup to the stage to groove with him. Printup had a smooth style that was reminiscent of old New Orleans jazz, very soulful and sensual. He and Roberts complemented each other well, adding welcome depth to the concert.
The last song on the program was Sonny Rollins' "Tenor Madness." Jeffrey broke out his sax and accompanied Roberts on this tune, as did bassist John Simmonetti and drummer Michael Scott. This was one of the best performances of the entire night, as the musicians seemed to jibe perfectly.
Jeffrey demonstrated his usual excellence--the man has more soul than James Brown and Aretha Franklin put together. Printup and Roberts were equally stunning, and they provided what should have been the perfect close to the evening.
However, a standing ovation by the audience brought the five of them out again for a disappointing encore that could not match the passion of the previous piece.
The evening was an enjoyment mainly because of the majestic play of Roberts, Jeffrey and Printup, who added passion to a surprisingly lackadaisical performance by the usually excellent ensemble.
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