| Jazz |
Hailing from Omaha, the renowned double bassist and composer Marcus McLaurine has long been recognized as a master of his craft. With this album, he offers a profound reflection of the moments that have shaped his life, revealing the ultimate wealth he possesses—his boundless humanity.
Over the years, McLaurine has graced the stage alongside such luminaries as Dizzy Gillespie, Kenny Burrell, James Moody, Lou Donaldson, Dame Cleo Laine, Joe Williams, Jon Hendricks, Abbey Lincoln, and the Count Basie Orchestra under the direction of Thad Jones, among many others. His playing, his tone—the very essence of Marcus McLaurine—has become legendary with time.
Here, he unfolds fragments of his life, each piece a story unto itself:
“To CT with Love” was written for my mentor and employer of thirty years, the legendary trumpeter Clark Terry. I will forever be grateful for the many opportunities he bestowed upon me.
“Miracle Child” was composed for my daughter, Mizuki. As I stood in the delivery room with my wife, Miyuki, I witnessed life itself enter our daughter’s body the moment the doctors cut the umbilical cord, which had been wrapped around her neck. That day, I bore witness to a true miracle, and this song is my tribute to her.
“One for OP” was dedicated to the magnificent Oscar Peterson. I had the privilege of attending his solo concert in Omaha, Nebraska, in 1976, just two weeks before departing for basic military training at Lackland A.F.B. in San Antonio, Texas. That performance gave me the inspiration I needed to endure the grueling six weeks of training that lay ahead.
“You Made Me Smile (Samba)” was co-written with my dear friend Clairdee. The lyrics were penned in honor of her mother, and thus, the song stands as a tribute to mothers everywhere.
“Dance of the Crows” was born during my tenure as an instructor at the Litchfield Jazz Camp several years ago. In one of my classes, I was explaining how to construct a walking bass line, randomly displaying chord progressions on the board. Later that evening, I attended a seminar led by the innovative trumpeter Dave Douglas, whose insights inspired me to revisit those progressions. I added a melody, and thus, Dance of the Crows came into being—a piece infused with the spirit of the ever-present crows that haunted the camp’s grounds.
“Ballad for Sandy Hook” was originally written in memory of a child from my neighborhood, tragically struck down by a driver fleeing the police. Following the horrific events at Sandy Hook, I chose to rename the piece, preserving within it the remembrance of young Jacob.
“Blues for Ray, Ron, and NHØP” pays homage to three bassists who profoundly shaped my musical journey. My son, Malik, joins me on this track for a father-son double bass duet—an experience in which he truly rose to the occasion.
“You Made Me Smile” takes on an entirely new dimension in its ballad form, evoking a wholly different emotion from the livelier samba version.
“Alone” was written during a period of my life when, despite being surrounded by people, I felt an overwhelming sense of solitude.
“Destiny”—A Divine Intervention with Russell Malone. I firmly believe that everything in life happens for a reason. One such instance occurred during a recording session with pianist Tomoko Ohno and drummer Samuel Martinelli. We were working on a piece I had written for my children, Malik and Mizuki McLaurine, as part of our Trilateral Project. There was a section where I had anticipated Tomoko taking a solo, but she unexpectedly left it open. A few days later, an idea struck me—I reached out to Russell Malone, inviting him to interpret the melody and improvise over the vacant section. He enthusiastically accepted, and when he stepped into the studio, he delivered an exquisite performance on Destiny—a true testament to divine intervention.
Today, having learned of my dear friend Russell Malone’s passing, I have decided to include Destiny as a bonus track on this album. We love you, Russell—you will be dearly missed. Rest in peace.
There is a profound significance in preserving an artist’s words intact. Throughout this album, Marcus McLaurine and his pianist, John Di Martino, are present on every track, while other musicians appear selectively. Among them, the late, great guitarist Russell Malone graces tracks (1, 2, 6, 10), alongside another exceptional guitarist, Dave Stryker—whom I previously discussed in January (see here: [link])—featured on tracks (2, 5, 9). Pianist Tomoko Ohno appears on track (10), vocalist Mala Waldron on tracks (4, 8), drummer Payton Crossley on (1, 3, 6, 7), Samuel Martinelli on (2, 4, 5, 8, 9, 10), and Malik Kioshi McLaurine on track (7).
This album is a mirror of its creator—tender, generous, profoundly human, and of such breathtaking beauty that it deserves a place among our “essential” recordings. Indeed, it is jazz in its most poetic form, graced by exquisitely harmonious arrangements, securing its rightful place in the pantheon of timeless music.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, February 25th 2025
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