FOR YOUR GRAMMY® CONSIDERATION:

"LifeSongs" Marshall Gilkes & WDR Big Band

Album Notes

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A sojourn in the city of Cologne is akin to a homecoming for Marshall Gilkes. The lauded trombonist spent four memorable years in that cultural hub beside the Rhine, making his mark within the ranks of the WDR Big Band’s brass section, and his departure in December of 2013 did nothing to dampen his love for the region and the tremendous fellow feeling binding him to his colleagues. Illustrating this point, one month later Gilkes returned for a proper farewell concert that gave him the opportunity to flex his multifaceted chops—as writer, arranger, conductor and soloist—and resulted in the creation of Köln, his first big band album as a leader; and in 2017 he was welcomed back for a second reunion—to perform and record Always Forward, the follow-up to that two-time Grammy-nominated large ensemble debut. Given this history and prosperous partnership, it should come as no surprise to hear that Gilkes was asked to cross the pond for a third collaboration. 


When band manager Arnd Richter contacted Gilkes about the possibility of this latest cooperative venture, he eagerly signed on and got down to the business of composing. And while doing that prep work in the summer of 2022, he began to notice a through line growing ever so clear. “I realized that a lot of the themes for these pieces relate directly to life and what’s going on in the world these days,” Gilkes explains. Channeling the present moment, both in his personal sphere and the greater whole we inhabit, he crafted a breathtaking collection of material tied directly to these times.


Opening with “Fresh Start,” Gilkes addresses the topic of tabula rasa, as it relates to existence after the pandemic, with boldness and brilliance. A driving straight-eighth number that the trombonist likens to a mini concerto, it proves to be the ideal entryway as it spotlights his virtuosic horn work and the outfit’s passionate embrace of his writing. Eyeing the same subject from another angle, the soulful “Back in the Groove” references the pace of life renewed while showcasing two absolute dynamos in alto saxophonist Johan Hörlén and pianist Billy Test. “I just love the drive in Johan’s playing, and he has these great harmonic ideas so, in blowing over a vamp like he does here, he can really take things to different places and then get right back to where things need to go,” Gilkes shares. Equally enthusiastic about Test’s contributions, the leader praises his piano soloing and how it connects to a key influence. “Part of the inspiration for this tune, and especially the section in seven, comes from Brad Mehldau and the groove on his version of ‘50 Ways to Leave Your Lover’ from Day is Done. Billy shared that he used to transcribe a lot of Brad’s work. And he brought something really unique, but in that vein, to the table.” 


Shifting focus to family, Gilkes revisits and revises “Cora’s Tune.” “That composition, which I wrote for my daughter, was originally a trombone quartet piece for Slide Monsters. Then I recorded it in a trio on Waiting to Continue,” he explains. “And when I was thinking about music for this session, I thought that it would make for a great big band chart.” Demonstrating fondness for the warm blend between clarinets and trombone, and providing the perfect balance between tenderness and might, Gilkes literally breathes new wonders into the air while retaining the shape and structure of the original. “Template-wise it’s similar, with the exact same form as the trombone quartet version…but just completely different orchestration.”


Leaving that musical arena behind for a statement suffused with gravitas, a united front tackles a serious issue and delivers an affecting masterpiece in the form of “My Unanswered Prayer.” “That’s about gun violence, particularly in the U.S.,” Gilkes notes. Tired of the thoughts-and-prayers response accompanying each and every senseless shooting, he penned a poignant reply where brass builds with elegiac tones, a flute sings with solemnity and grace, he pours his own heart into his horn, and Test follows suit and gets inside the emotional core of the composition. The augmented harmonies prove haunting, which, as Gilkes mentions, fits the scary nature of the matter.


Reaching the midpoint of the program, the trombonist offers an alluring outlier with “All the Pretty Little Horses.” The first and only chart he’s ever written for singer and large ensemble, its origin lies in slumber. “The Air Force Academy Band commissioned me to write that a few years back. They asked me to write a children’s tune in essence, so I thought, ‘What about this lullaby that I used to hear my mom singing to my kids all the time?’” A beautiful platform for guest vocalist Sabeth Pérez, who’s foregrounded alone and in a wordless pas de deux with Hörlén’s soprano, it proves to be a buoyant, spellbinding charmer like nothing else on the playlist.


Returning to the realm of instrumentals, the brass receives its due with three disparate gems. “Middle Ground,” which calls for a common meeting place, arrives first and features the trombones. “I wanted to do something different to really showcase the sound of this section, especially with the chorales,” he notes. “And then there’s a Latin portion and the basic tune as well.” Ludwig Nuss and Raphael Klemm factor into the soloing equation first, and Gilkes trades with his old friend (and onetime Interlochen roommate) Andy Hunter in the spicier sector. An expansion of “Sin Filtro”—the brass-only bonus track from Cyclic Journey—gives Gilkes a chance to put his stunning slide into play over a Balkan-ized slant on a Spanish-tinged knockout. And Rodgers and Hammerstein’s “This Nearly Was Mine,” which appeared in a markedly different version on Edenderry, serves as a vehicle for Andy Haderer’s gorgeous flugelhorn work. “That’s a ballad that I’ve always loved,” Gilkes shares. “I first heard it on a Chick Corea solo record called Expressions. I think it was one of the first tunes I figured out while sitting at the piano. It’s always stayed with me, and when I was thinking about a slower piece for this project I realized it would be just right for Andy.”


Signing off with a nod to his children on the charged “Sugar Rush,” Gilkes paints a portrait of candy-fueled youth and gives tenor saxophonist Paul Heller some space to shine. “Paul’s got tremendous energy and he’s also very harmonically aware. This is a pretty tricky tune, in terms of changes, and he just moves right through it.” Winking to arranging icon Bob Brookmeyer via a dovetailing saxophone section, and presenting outstanding ensemble work throughout, it offers one last reminder about the power at play in this fruitful collaboration while homing in, both literally and figuratively, on life’s sweet gifts.

Dan Bilawsky, August 2023