One of the most important of today’s generations of artists must be vibist/composer Joel Ross. He seems to have a double life, as his concerts tend to be extroverted affairs, while his albums are consistently thoughtful and reflective. This latest one, a true gem, is no exception.
Instead of his regular band, he brings together Blue Note stablemates and beyond in Immanuel Wilkins/as, Maria Grand/ts, Marquis Hill/tp, Kalia Vandever/tb, Sean Mason/p, Rick Rosato/b, Craig Weinrib/dr and Gabrielle Garo/fl for a Raphaelesque tapestry of reflective pieces that sound like light shining through a church stained glass window.
Almost every tune opens with a solo instrument introducing the mood and atmosphere, with Ross’ resonant tones bringing in the elegiac “Prayer” before the horns create a liturgical texture for Hill’s glorious solo. Rosato brings in the contemplative “Guilt” that leads into a thoughtful trio before Grand enters with an impassioned plea and a muted Hill wafts like a lit candle. Hill’s soft “Choices” glides into palpable textures before closing in an agonizing plea, while “Wail” has Wilkins giving a cantoral cry with Vandever. Mason is impressionistic after taking the trombonists baton on the meditative “The Impetus” while the vibes, tenor and rhythm team is peppy on the urgent “Doxology”. The closing “Benediction” is truly a good word, with glorious harmonies of the horns and as reflective as a church in Assisi.
I don’t know Ross’ personal pilgrimage, but no one can create music this deep without a connection to his God. Take a listen to his journey-it’s music with an eternal focus.