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Marcus Roberts

Primary Instrument: Piano

Born: August 7, 1963    

Marcus Roberts

Marcus Roberts grew up in Jacksonville, Florida where his mother's gospel singing and the music of the local church left a lasting impact on his own musical style. After losing his sight at age five, he began teaching himself to play piano a few years later. He had his first formal lessons at age twelve and ultimately went on to study classical piano at Florida State University with Leonidus Lipovetsky. While at FSU, Roberts won the first of many competitions and awards, the young artist's competition at the 1982 National Association of Jazz Educators annual conference. His many other awards include first prize at the Thelonious Monk International Jazz Competition in 1987, a National Academy of Achievement award in 1995 and the Helen Keller Award for Personal Achievement in 1998. ...
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Awards

1982 Young Artist’s Award, National Association of Jazz Educators 1987 First Prize, Thelonious Monk International Jazz Competition 1995 National Academy of Achievement Award 1998 Helen Keller Personal Achievement Award, American Federation for the Blind 2001 Commissioning Award: Chamber Music America (From Rags to Rhythm) 2002 Artist-in-Residence, 2002 Winter Olympic Games 2003 Jacksonville Jazz Hall of Fame 2003-04 Housewright Scholar, Florida State University 2004 Commissioning Award: N.C. Association of Jazz Educators (Journey into Swing) 2005 ASCAP Commissioning Award (premiered at Rose Hall) (The Sound of the Band) 2012 Atlanta Symphony Orchestra piano concerto commissioning aware (The Spirit of the Blues)
”Glowing is the proper response to Roberts' music” —Josef Woodard, The Independent

“Mr. Roberts... plays almost completely free of cliches, and while the intellectual construct within which he works is old - the application of the modern on a foundation of tradition—his ability in all his idioms seemed startlingly thorough.” —Peter Watrous, New York Times

“That the huge crowd at Orchestra Hall on Friday night responded...with an instantaneous standing ovation said a great deal about Roberts' ability to keep an audience in his spell.” —Howard Reich, Chicago Tribune

“The sheer power and beauty of Roberts' creations...warrant further investigation.” —Larry Blumenfeld, Jazziz

“[Roberts'] writing is often brilliant in its juxtaposition of distant musical eras, ...its believable evocation of mood, ...and the way solos are made to emerge organically from the ensembles.” —Thomas Conrad, Downbeat

“Although “classically” trained, Roberts is primarily a jazz pianist and composer. He is, therefore, a musician to whom improvisation is not only a living, but also an essential art. The results in the “Rhapsody in Blue” were fascinating.” —Stephen Wigler, The Baltimore Sun

“Marcus Roberts is a superb improviser with a considerable compositional gift.” —Chris Parker, The Times (London)

“There's an easy tendency to criticize the astonishing technical facility of Marcus Roberts and his associates as being too facile... when Marcus Roberts, or Wynton Marsalis for that matter, fly along brilliantly on their instruments, one never intuits a psyche on the edge of abandon but rather one recognizes extraordinary training and immaculate control... Their supreme adroitness still legitimately feeds the thrill of the music.” —Richard Perry, The Ottawa Citizen

“Blues [for the New Millennium] rarely falters in its grooves. Thanks are due to an irresistible rhythm section, ... and Roberts' compositional wit” —Bruce Handy, Time Magazine

“No matter what guise they assume, however, the blues are always essential to jazz, and Roberts and his 12 gifted young musicians come to delightful grips with that fact on Blues for the New Millennium.” —Geoffrey Himes, The Washington Post

“And what became clear by the conclusion of this fascinating program was that Roberts...opens up a creative window on both the past and future. By retaining the substance of these works, without mimicking their styles, by finding within them new musical challenges for the present and the future, rather than a by-the-numbers need for precise historical reproduction, he is identifying the entire jazz repertory as a timeless arena for creative endeavor.” —Don Heckman, Los Angeles Times

“On The Joy of Joplin, Roberts once again forces us to re-examine what jazz is and where jazz is now. That's good. It's one reason why he is a pivotal figure in today's jazz scene.” -Paul J. MacArthur, The Houston Press

“There may not be another pianist alive who could pull off such a feat while staying so true to the spirit of Joplin's compositions, if only because Roberts has the historical knowledge, creative imagination and technical prowess to sustain the experiment. Yet one ultimately comes away from this recording with new reverence for Joplin, who emerges as the forger of an indestructible ragtime vocabulary and as a pervasive influence on generations of composers yet unborn when he was in his prime.” —Howard Reich, Chicago Tribune

“Marcus Roberts...has made a name on the symphonic circuit playing “Rhapsody in Blue” which he fills with extended and dazzling improvisations that I can't imagine Gershwin wouldn't love.” —Judith Green, The Atlanta Journal

  • Portraits in Blue

    Columbia Records
    2014
  • The Joy Of Joplin

    Dreyfus Jazz
    1998
  • Blues For The New Millennium

    Dreyfus Jazz
    1997
  • Gershwin For Lovers

    Dreyfus Jazz
    1994
  • If I Could Be With You

    Dreyfus Jazz
    1993
  • Alone With Three Giants

    Dreyfus Jazz
    1991
  • Alone With Three Giants

    Dreyfus Jazz
    1991
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This information is provided by discogs.com or the profile administrator.

Primary Instrument:
Piano

Willing to teach:
Advanced students only.

Credentials/Background:
On the faculty at Florida State University School of Music

Clinic/Workshop Information:
Does clinics and workshops in a wide range of settings. Is Director of Educational programs for Savannah Music Festival

Steinway artist.

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