Stefon Harris pulls off a grand design

New jazz stars have been hard to spot in the last few years. But few would argue that one of the brightest luminaries in that relatively small firmament is vibraphone player Stefon Harris. Since the arrival of his first album as a leader, “A Cloud of Red Dust” in 1998, his live outings and his recorded performances have revealed an omnivorous talent improving by leaps and bounds.

Now, with the release of his remarkable, 11-movement, 70-minute suite, “Grand Unification Theory” (****, Blue Note), Harris reaches full magnitude as a mature jazz instrumentalist-composer.

The work is presented by a first-rate, 12-piece ensemble that includes such gifted players as saxophonist Tim Warfield, trombonist-shell player Steve Turre and pianist Xavier Davis.

Don’t be misled by the seemingly pretentious title. Harris’ constant curiosity has led him to the physics theory that asserts that the major forces in the universe are part of a single all-embracing force. His suite parallels the theory, with its ramifications for the life of the universe, and arranges his own life experiences in a series of movements, from “The Birth of Time” to “Rebirth” to “The Grand Unification Theory.”

It’s not necessary, however, to keep any of this in mind while hearing the music, which stands on its own as an entrancing aural experience, filled with superb improvisational passages and gorgeously textured ensemble sounds. Harris’ playing on both vibes and marimba is stunning, further evidence of his remarkable improvisational flow, deeply informed by an intuitive understanding of the importance of both sounds and silences.

Harris’ credentials as an important new instrumental jazz star have been in fine order virtually since the release of his first album. With “Grand Unification Theory,” he makes a compelling case for himself as a much-needed new jazz composition star as well. (Harris will perform “Grand Unification Theory” with the full ensemble at the Jazz Bakery on April 1-6.)

Marsalis Times Five

In “The Marsalis Family: A Jazz Celebration” (*** 1/2, Marsalis Music), the only nonmember of the family in the ensemble is bassist Roland Guerin. Beyond that, it’s all Marsalis: patriarch Ellis on piano, saxophonist Branford, trumpeter Wynton, trombonist Delfeayo and drummer Jason.

It took a tribute concert marking Ellis Marsalis’ retirement from his teaching duties at the University of New Orleans to bring father and four sons together on the same stage, in the same band, for the very first time.

So how well do they work together? Well, for one thing, it’s always worth keeping context in mind with an album of this sort. Yes, the Marsalis name is jazz magic, and it’s fascinating to hear father and sons working as an ensemble, especially in a program that includes four works by the elder Marsalis. But the presumably small amount of time available for serious rehearsal is clearly evident in the not-always-precise ensemble work.

That’s generally not a problem, since the material from the concert that was chosen for the CD emphasizes improvisation -- individually and collectively. More intriguingly, what emerges in the various solo segments is the surprising degree of difference in style and musical manner between the Marsalis brothers.

Wynton’s articulate craftsmanship is in fine form throughout. Branford, always more interested in envelope-stretching i improvisation, is more subdued, less musically present than he was in a duet album with his father, “Loved Ones.” Jason, the youngest, has matured into a solid, dependable drummer.

The real surprise, however, is the solid work of Delfeayo. Always an engaging improviser, he performs here with great warmth and imagination.

Finally, there is Ellis Marsalis, himself. One of the great pleasures of this family performance is the opportunity to hear Ellis’ crafty music from the ‘60s (with its Horace Silver overtones), combined with the crisp rhythmic touch and the riff-driven, melodic orientation of his improvising.

Best of all, the Marsalis program (which will also be available on DVD and a PBS special) appeals for a reason that reaches beyond the performance itself: The four sons’ obviously sincere desire to celebrate the life of a much-loved parent by enthusiastically displaying the gifts he was so instrumental in furthering.