Marques Carroll Quintet @ Andy’s, Or, Taking Me Back To The Totally Peaceful Days of Late 2016

By Dominic Guanzon

Friday 05/08/23

If Marques Carroll, Marquis Hill, and Quentin Coaxum ever taught a composition masterclass together, I’d join it in a heartbeat, and I don’t even compose music. There’s something in the heart of these three Chicago trumpeters that make some of the most inspiring, sublime songs that bring a sense of peace, comfort, and excitement into such a cool sound. Not like the beatnik cool or west coast cool days of old, but a modern cool that captures the tenderness of this city few other mediums can.

In a 2016 interview I had with Coaxum, he described childhood nostalgia and a gentle approach to religion as fuel for songs like “1cent” or “Pacific Suite: Part II” from his 2014 debut album “Current”. His sequel, 2020’s “You & I” took on the tumult of that year, but in exactly the loving way you’d expect him to. He’s also one third of Carroll’s Trumpet Summit that played Andy’s and put out a record in 2018.

Hill’s approach before 2017’s “Meditation Tape” was more in line with his Chicago-adoring “Sounds of the City” approach. Examples such as the blissful trilogy¹ of tracks from 2014’s “Modern Flows Vol 1,” or his deep-in-love arrangement of “My Foolish Heart” from 2017’s “The Way We Play”, featuring Christie Dashiell on vocals.

But where does Carroll sit amongst this arbitrary triumvirate I’ve concocted? The trumpeter I had long seen in Chicago’s jazz circles, but never had the chance to see until his quintet’s show that Friday at Andy’s?

Andy’s, Chicago, 5/08/23. Photo by Dominic Guanzon.

Marques Carroll may just be the quintessential Andy’s musician for the 2020s.

The aesthetics of his compositions are soft and clean, but his reveling in hard bop classics from Wayne Shorter and Joe Henderson broadcast that the tradition is always there. His easy-going, almost languid persona on the bandstand betrays the powerful beauty that comes out of the trumpet he makes music with. Sitting on the side of the mixer and joking with bar patrons one minute, commanding an intro to a silent club the next. Before you know it, you’ll hate that your street parking only lasts two hours, or that you took your car in the first place.

It’s the kind of set you’d want to bring a first-time jazz-listener, Andy’s-goer, or Chicago-visitor to every time.

Brent Griffin Jr (as). Andy’s, Chicago, 5/08/23. Photo by Dominic Guanzon.

Carroll’s second album, released just last year, features a song called “Amused by the Spirit of a MUSE” on its second track. It’s a jumpy Latin original that fills the spirit with a lot of warmth through its bittersweet phrases. Those dancing 5ths² with ever-so-slightly descending chords underneath, in particular.

Hearing it live, the band chose an uptempo approach with a more urgent beat propelled by bassist Christian Dillingham. The harder-driving, but no-less-motivating version allowed drummer Marcus Evans to go ham on the fills. The extra urgency still couldn’t hide the playfulness, and the horns emphasized some of that sweetness in their solos.

Carroll stayed off the mic for most of the set, opting to start tunes as soon as the previous ended. Usually doing so with a rubato trumpet intro.

Christian Dilingham (left, b) and Marcus Evans (right, d). Andy’s, Chicago, 5/08/23. Photo by Dominic Guanzon.

Another notable piece was “Riding With Claudette,” a song for Civil Rights pioneer Claudette Colvin, a black girl who refused to give up her bus seat to a white woman in 1955, Alabama – nine months before Rosa Parks did the same. However, due to her status as an unmarried, pregnant 15-year-old, she was overlooked by activist groups.

Eschewing the usually stoic or dramatic flair of Civil Rights art, Carroll turned lively with a bouncy beat and a repetitive, ringing comping³ pattern. Alto sax player Brent Griffin Jr and pianist Tom Vaitsas joined Carroll and Evans on solos, exploring melodic ideas to their max in what turned out to be a classic hard bop chart.

On his website, he has what appears to be a mission statement emblazoned in big quotes: “Respect tradition, preserve the culture, and push forward.” Those can seem like generic goals, but they’re right in line with his music on the bandstand and on his records. His 2021 non-group debut album “The Ancestors’ Call,” of which the Colvin tribute would be right in line, in particular. He also mentioned to the club that it was part of a larger project he was working on, placing more anticipation on the horizon.

The penultimate tune to the set was “Larry Sings,” another original piece that he mentioned was featured on the FX show “The Bear”. While he didn’t explain who Larry was, they must have been a gentle soul, because his song is a kind, loving piece that exemplifies the best of the heartful side of this sound with its listful ebb-and-flow and catchy, nine-note capstone phrase.

Andy’s, Chicago, 5/08/23. Photo by Dominic Guanzon.

I had not known of Marques Carroll’s evolution as a musician up to this point, but that Friday I heard something fresh, tender, and exuding cool. His first two non-group albums coming out in just the past three years spells exciting things for fans of that particular sound. Fans that may include those with a fondness for the aforementioned Coaxum and Hill circa 2014 to 2017⁴. I’m one of them, and while artists should move on, I can’t help but yearn for something to fill that void from over five years ago.

I have that chance now, as rare as it is in the jazz world, and I don’t think I’m alone.

The Marques Carroll Quintet is:

Marques Carroll (t)

Brent Griffin Jr (as)

Tom Vaitsas (p)

Christian Dillingham (b)

Marcus Evans (d)

1. The trilogy includes “The Essence,” “Love My Life,’ and “I Remember Summer.” I consider them a trilogy because of their clear connection in rhythmic feels, aesthetic, keys, and mirroring of other track groupings.

2. 5ths = an interval that is five steps away from the first note. E.g. from note C, it would be a jump to the note G.

3. Comping = playing of chords and/or notes that support a soloist. Done by a rhythm section (in this case, the piano, bass, and drums).

4. Because I’ve only just started paying attention to Carroll’s work, I will freely admit I don’t know how or how much this group of three have influenced each other. I do know they’re all well worth your time and ears.