Not yet 30, vibraphonist and composer Joel Ross has delivered has fifth Blue Note album, the 2-LP set, Gospel Music. The music remains intricate but less so than his previous efforts. Ross sets a very meditative tone as he follows the arc of the grand biblical story. He begins with creation, moving to the fall and salvation, using the corresponding biblical texts in the liner notes to guide the inspiration for each piece.
Some may argue that the album is too long, but Ross needs that length to tell the full story. He does so by adding alto saxophonist Josh Johnson and previous collaborator tenor saxophonist Maria Grand to his mainstay Good Vibes quartet of pianist Jeremy Corren, bassist Kanoa Mendenhall,and drummer Jeremy Dutton. Ross explains that adding the two saxophonists, who generally carry the melody, gives him the freedom to do other things, such as playing the bassline or adding colorful chords. There are several tracks where Ross doubles on celeste, glockenspiel, or drums.
Roos revisits some of his older unreleased compositions in the light of new experiences. He says, “This is probably the boldest example of trying to share what I believe is the good news as well as in homage to where I’m coming from.” The Black church has always been an important element in Ross’s music, especially in The Parable of the Poet, but here he is more fully focused on spirituality. Even without the song titles and accompanying Biblical texts, the music comes across as deeply reflective. Melodies are often relatively simple and at times repetitive, like a choir singing refrains. Yet, there’s plenty of improvisation too. That’s always been an inherent component in Ross’s music. Overall, his intention is for us to meditate on the meaning of Christ’s sacrifice. We can then better support each other and discard destructive tendencies. As such, this is the kind of music that washes over the listener, hypnotic at times, and declarative when called for.
The project begins with the creation, entitled “Wisdom Is Eternal (For Barry Harris). Ross is on vibes, celeste, and glockenspiel, authoring a rather scalar melody that features unison lines with the two saxophonists. “Trinity (Father, Son, and Holy Spirit)” is a feature for drummer Dutton and the saxophonists, with Ross dancing all over the vibraphone and Mendenhall following suit on piano – in essence, a three-way conversation between horns, vibes, and piano, as Dutton sets the course. It’s one of the most lively pieces across both albums. “Protoevangelium (The First Gospel)” is solemn as it tells the origin of sin in the Garden of Eden.” Yet, another standout is “Hostile” with the sexter going full throttle free-form in accordance with the Biblical text.
Fast forward to the last two tracks on Side C. Here, and on the opening track to Side D, the album peaks with three vocal performances. “Praise To You, Lord Jesus Christ” and “Calvary” are the only two of the seventeen that Ross did not write. The former is a gospel acclamation deployed during Lent, featuring and introduced to Ross by his wife, trumpeter Laura Bibbs, on vocals. That leads directly to the latter, a traditional spiritual, performed by the acclaimed vocalist Ekep Nkwelle. These two stimulating pieces represent the execution and resurrection of Jesus. “The Giver” opens Side D, exploring what it means to give oneself over to a purpose. James Bladwin’s poem “The Giver (for Berdis)” is the basis of the lyrics, and the tune is performed by a duet – Corren on piano and Andy Louis on vocals and guitar. These three tracks will draw the listener out of the deep reverie induced by the sextet’s instrumental tapestry of many textures, far from the traditional structure of heads and solos. The interplay is riveting.
As you’d expect, the album concludes on a high note with two short pieces, “The New Man,” with the sextet playing blissfully, and “Now & Forevermore.” The latter deviates from the sound, becoming even more ethereal with Brandee Younger on harp, Bibbs on flugelhorn, and Austin White on electronics as the saxophonists and Corren sit out. This closer just eases into the ether.
One Response
This reads like a creative milestone moment, which fits English birthday culture where releases or premieres are sometimes treated like birthdays for a work.
I have noticed how adding collaborators can give a project new life and balance. A practical takeaway is to let others carry the main theme so you have space to experiment and grow creatively.