MUSIC REVIEW BY Thierry De Clemensat, Paris Move
Ben Markley stands among those rare composers who have mastered both the art of orchestral composition and the subtle craft of arrangement. From the very first track—bearing the album's title—the tone is unmistakably set. Markley's works possess a cinematic and novelistic quality, evoking the shadowed alleyways and brooding atmospheres of 1950s film noir. One can almost imagine Bogart emerging from a street corner, his silhouette cutting through the mist, without the slightest hint of surprise.
In Markley's musical writing, echoes of the past intertwine with a refined sense of melody, storytelling, and phrasing. Each piece unfolds as if guided by the hand of a masterful director. Over the years, Markley has performed alongside luminaries such as Greg Osby, Eddie Henderson, Terell Stafford, George Garzone, and John Fedchock. As an active composer and arranger, his big band and vocal jazz scores have been published by UNC Jazz Press. His first two albums garnered ASCAP Young Jazz Composers Awards, and he was selected to participate in the prestigious Betty Carter Jazz Ahead program at the Kennedy Center.
His book, A Practical Approach to Improvisation - The David Hazeltine Method, published by Jamey Aebersold Jazz in December 2014, delves into the art of transcription-based study, shedding light on Hazeltine's unique approach to improvisation.
The praise from the specialized press is no less effusive. Of a previous album, DownBeat wrote: "Deep grooves, delicate swing, and dynamic interaction... This album is one of those rare jazz gems capable of converting pop fans into jazz devotees."
Once again, even within compositions of extraordinary complexity, Ben Markley extends a welcoming hand to listeners, aided by a group of musicians for whom we hold the utmost respect: Markley himself at the piano, Steve Kovalcheck on guitar, Will Swindler on saxophone, Rodney Whitaker on bass, and Kyle Swam on drums. Each of them plays with finesse and intelligence, shaping an album whose pieces, often exceeding nine minutes, seem tailor-made for festival stages, allowing audiences to immerse themselves in a musical narrative as intricate as it is perfectly structured.
Hearing Ben Markley at the piano is an enriching experience—one can only imagine the fortune of his students at the University of Wyoming, where he shares his artistry and wisdom. In 2023, he published Cedar: The Life and Music of Cedar Walton (University of North Texas Press), a definitive biography of the legendary pianist. To bring this work to life, Markley conducted over seventy-five interviews with friends, family members, and musicians who played with or were influenced by Walton, as well as key figures in the music industry. Among those interviewed were Jimmy Heath, Benny Golson, and Ron Carter. Walton's wife, Martha, also provided access to her personal archives, including photographs, concert posters, tour itineraries, and letters, all of which enrich Markley's compelling narrative.
For those seeking a bridge between jazz's past and present, Ben Markley stands as one of the most captivating figures of our time. If we are to place this album among our "Essentials," it is not merely for the brilliance of this record alone, but for the breadth of his contributions to the art form—just as we might for a Wynton Marsalis, for instance.
In Markley's musical writing, echoes of the past intertwine with a refined sense of melody, storytelling, and phrasing. Each piece unfolds as if guided by the hand of a masterful director. Over the years, Markley has performed alongside luminaries such as Greg Osby, Eddie Henderson, Terell Stafford, George Garzone, and John Fedchock. As an active composer and arranger, his big band and vocal jazz scores have been published by UNC Jazz Press. His first two albums garnered ASCAP Young Jazz Composers Awards, and he was selected to participate in the prestigious Betty Carter Jazz Ahead program at the Kennedy Center.
His book, A Practical Approach to Improvisation - The David Hazeltine Method, published by Jamey Aebersold Jazz in December 2014, delves into the art of transcription-based study, shedding light on Hazeltine's unique approach to improvisation.
The praise from the specialized press is no less effusive. Of a previous album, DownBeat wrote: "Deep grooves, delicate swing, and dynamic interaction... This album is one of those rare jazz gems capable of converting pop fans into jazz devotees."
Once again, even within compositions of extraordinary complexity, Ben Markley extends a welcoming hand to listeners, aided by a group of musicians for whom we hold the utmost respect: Markley himself at the piano, Steve Kovalcheck on guitar, Will Swindler on saxophone, Rodney Whitaker on bass, and Kyle Swam on drums. Each of them plays with finesse and intelligence, shaping an album whose pieces, often exceeding nine minutes, seem tailor-made for festival stages, allowing audiences to immerse themselves in a musical narrative as intricate as it is perfectly structured.
Hearing Ben Markley at the piano is an enriching experience—one can only imagine the fortune of his students at the University of Wyoming, where he shares his artistry and wisdom. In 2023, he published Cedar: The Life and Music of Cedar Walton (University of North Texas Press), a definitive biography of the legendary pianist. To bring this work to life, Markley conducted over seventy-five interviews with friends, family members, and musicians who played with or were influenced by Walton, as well as key figures in the music industry. Among those interviewed were Jimmy Heath, Benny Golson, and Ron Carter. Walton's wife, Martha, also provided access to her personal archives, including photographs, concert posters, tour itineraries, and letters, all of which enrich Markley's compelling narrative.
For those seeking a bridge between jazz's past and present, Ben Markley stands as one of the most captivating figures of our time. If we are to place this album among our "Essentials," it is not merely for the brilliance of this record alone, but for the breadth of his contributions to the art form—just as we might for a Wynton Marsalis, for instance.