Label: Blue Note Records, 2022
Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Maria Grand: tenor saxophone; Marquis Hill: trumpet; Kalia Vandever: trombone; Sean Mason: piano; Rick Rosato: bass; Craig Weinrib: drums. Guest - Gabrielle Garo: flute (#2).
The prodigious vibraphone star Joel Ross gathers a solid and collectively functional ensemble for The Parable of the Poet, his third Blue Note release. A frontline with four horns and a sharply focused rhythm section where piano and vibes coexist harmoniously together, resulted in glittering, polished surfaces that bring together emotion and devotion.
“Prayer” and “Benediction”, opener and closer, respectively, fall into this spiritual category. The former, aptly introduced by the bandleader, is a gracefully textured ballad with asymmetric meter and soft horn dynamics. A song of inspiration with the same candid, grateful feelings as the latter tune, which, built on major thirds, takes us from Sean Mason’s introductory piano playing to the brushed velvety delineated by drummer Craig Weinrib and the sparse underpins of bassist Rick Rosato. Ross’ articulated malleting stands out amidst simple unison lines.
The powerful, modal “Wail” also has a discernible spiritual quality to it, benefitting from the devotional expressions of altoist Immanuel Wilkins. His fervor remains vividly bright, even during hushed moments of classical contemplation. Trombonist Kalia Vandever makes the bridge between this piece and “The Impetus (To Be and Do Better)”, where a lenient gospel aura surrounds its richly woven balladic circularity.
The poignant “Guilt” places an unhurried bass figure under its feet, featuring Maria Grand on tenor and understated guest flute by Gabrielle Garo. At a given moment near the end, the tempo shifts from triple to quadruple, and the speed gradually increases, allowing the skittery drummer to intensify his procedures. In turn, “Choices” insinuates risk and fear, starting with solo trumpet, moving through a heavy droning bowed bass, and ending up with plaintive horn lines in the foreground and impressionistic vibes in the back. Additionally, the distinctive “Doxology (Hope)” feels like Charlie Parker’s bop inventions had been struck by a bolt of rhythmic modernism, definitely underscoring the group’s polyrhythmic abilities.
Ross is a serious bandleader, and this album is a combination of his creativity, skill, and generosity, in the sense that he often opts not to step forward and make the music flow collectively.
Favorite Tracks:
01 - Prayer ► 04 - Wail ► 06 - Doxology (Hope)