LAST FLOURISH OF 2010 - Part 5

DJANGO BATES TRIO - Beloved Bird

Had to wait until I was I the UK to buy this but it was worth it. Never heard such beautiful renditions of the Bird canon. The close to 20 minute Ah-Leu-Cha is quite possibly Django's most daring and beautiful musical statement thus far in his illustrious career.

PETER ROSENDAL TRIO - Pica-pau

New latin flavours from one of my favourite european trios - a mature and strident disk bringing in guitar and clarinet making this one of the pleasant surprises of 2010 and a wonderful addition to my ever growing Peter Rosendal collection.

JASON MORAN TRIO - Ten

Towering release from Moran that will top many 'best of 2010' lists for jazz and music in general such is his scope, appeal and intention. This really rocks in rhythm.

GERALD CLAYTON TRIO - two-shade

I was lucky not to miss this great energising disk (thanks to the jazz breakfast). At tempo or funking it up, Clayton and his super tight trio are a new thoughtful swinging addition to the genre.

HELGE LIEN TRIO - Hello troll

The master of time and touch, Lien's new disk is yet another musical treat from Norway to add to his ever growing collection of top draw trio making.

VIJAY IYER TRIO - Historicity

How wonderful to discover Vijay this year and enter his unique musical world. Important new sounds in music that you must check out if you haven't already.

ANDRE MEHMARI TRIO - Lachrimae

My tears do indeed flow at the extreme beauty of Brazilian Mehmari and his exquisite touch - my new and latest discovery I'm so happy to have found to make 2010 possibly the richest seam of trio music of my life so far.

LAST FLOURISH OF 2010 - Part 4

BILL CHARLAP TRIO - Live at the Village Vanguard

Precision engineered, highly swinging trio whether at ballad or extreme fast tempo. Charlap's technique is a wonder to behold and although it could easily be the main feature, he keeps it in check to serve its purpose of underpinning wonderfully realised piano jazz.

ANDERS CHRISTENSEN TRIO - Dear Someone

Don't let the Dylan inspired cover fool you, this is highly inspired contemporary jazz featuring the stella bassist and one of my favourites Aaron Parks on piano. With some unusual cross genre covers this memorable collection is confidently played with the utmost focus and soulful exposition.

FRANK KIMBROUGH TRIO - Rumors

Another stunning collection from my new favourite Frank Kimbrough. I'll buy anything he plays sight unseen, as he weaves new textures and resonances from the trio format in his own quiet fashion while others pick up the trio fad prizes.

PABLO HELD TRIO - Music

Leading man in the German piano trio tide, Held's follow up to Forest of Oblivion, sees him confidently tackling new material and opening his shoulders even more to the musical world he's beginning to shape.

ROBERT MITCHELL TRIO - The Greater Good

I can't believe this is the first British trio I've reviewed! Mitchell's 3io drips with soulful re-interpretations, Debussy-esque impressions and beautifully sustained tempos of mood and ambience. Recording feels like you're sitting next to him wrapped up in the sonic world they create here - wonderfully new loungey trio sounds.

RONNIE LYNN PATTERSON TRIO - Music

The second CD called Music in this batch. Patterson along with Kimbrough represent to me the current apex of jazz piano trio music making. This, his latest collection of undiluted emotions rendered with the fingers of a saint, is unmissable.

CURIOS - The other place

Following on from the equally wonderfully played Closer and Hidden, I love the Curios approach to the trio. Never ones to lean on familiar props, they constantly look for the new angle whilst never losing a complete understanding and ability to play notes that take a short cut to the soul.

GWILYM SIMCOCK - Blues Vignette

A masterpiece recording from Simcock. Utterly beautiful music in every sense. Don't let the ice of the cover mislead you - herein are some pieces of trio music that will entrap your senses in a delight of different moods all played with Simcock's fine mastery and a stella trio.

LAST FLOURISH OF 2010 - Part 3

GIOVANNI MIRABASSI TRIO - Out of track

I thought I knew a bit about Italian piano jazz - wrong! My new discovery Mirabassi stuns with this lesson in beauty and pianistic elegance interwoven with bass strings and drum skins.

GUILLAUME DE CHASSY TRIO - Faraway, so close

Lessons in impressionism and reflection - with moods from Faure to Pink Floyd to Carla Bley, I can't fault a single note on this CD.

GREG REITAN TRIO - Some other time

The ignorant might say Bill Evans copyist, I say gifted trio-tician who pays homage to the great trio but resolutely re-defines himself in the light of modernity and with the aid of the springs in his supple fingers.

STEPHEN ANDERSON TRIO - Nation-Degeneration

Whether an ode to the fast decaying planet or America's economic melt down , don't be fooled by the images or message. This is pinpoint accurate piano trio-ism from a master educator who seems to be comfortable at any tempo or mood.

LAST FLOURISH OF 2010 - Part 2

FRANK KIMBROUGH TRIO - Play

A totally new discovery for me - American Frank Kimbrough's Play is a master class in contemporary jazz trio with bluesy inflections, meditative explorations and melodic infusions with a complete encyclopaedic approach to the in and out of the genre. Buy it now.

FRED HERSH TRIO - Whirl

Long time favourite with new CD after long illness. More rounded edges and less brittle phrasing make this my favourite of Fred's for a long time. Top of the genre. Don't hesitate.

JEF NEVE - Soul in the picture

What can I say? Game changer Neve in beautifully constructed trio record of adventure and risk that leaves you with the feeling that the world needs to heave a collective sigh after the last note fades. Hyper recommended.

RONNIE LYNN PATTERSON TRIO - Mississppi

Can you believe Patterson is self taught? This album is one of the reasons why I've changed to these new short format reviews - I had to make space and time in my world to listen to more Ronnie Lynn Patterson to enrich it beyond my wildest expectations.

LAST FLOURISH OF 2010 - Part 1

I've been totally awash with new and amazing trio records recently that I just can't sustain the three paragraph review any longer. I don't actually think I was much of a writer in any case. So from now on and for the foreseeable future I will just post my recommendations with the CD cover and some short text. If the album appears here it means I'd recommend buying it sight unseen/unheard and ask you to just revel in the TRIO RIOT that seems to be pervading the planet. Piano, bass, drums = nirvana.

AARON GOLDBERG TRIO - Home

Beautifully rendered trio setting with added tenor sax from the divine and very much in demand Mark Turner on several tracks. Measured but beautiful and Goldberg is not afraid to rock either with renditions of Monk and Wonder that will enthral.

BENJAMIN SCHAEFER TRIO - Roots and Wings

When will the German trio invasion end? Just when you thought they ruled the roost along comes the gentle but affirmative Benjamin to mix it all up again and set the bar even higher. Sublime.

CESARE PICCO - Light Line

It doesn't come more romantic or angelic than this. I saw him at the Hanoi Opera House this year when he had everyone spellbound with his weaving of light. Highly recommended for anyone who needs to transcend the here and now at least once every 24 hours.

YARON HERMAN TRIO - Follow the white rabbit

I've been a fan of Yaron Herman for a while and was waiting for him to calm down and find his stride. This album is replete with the potential that tells us that we are indeed in the company of one of the new giants of jazz piano and trio.

ANAT FORT TRIO - And If

My 5 year old son recently made up a good game. We put on some music, launch the iTunes visualizer (must be the Classic not the new one which is dull) and then say things the patterns suggest or make us feel like. He comes up with sentences like ‘I feel like an astronaut playing with shooting stars’, or ‘I’m swimming in a dinosaur’s stomach’. The other day I put on And if by the Anat Fort trio, launched the visualizer and almost immediately he said; ‘It feels like I’m exploring inside a clock’. And in some ways he’s spot on. These ten pieces of exquisitely rendered music are all explorations in time and space played with the tenderness and touch of someone blessed by angels.

Israeli Anat Fort who shares her time between her homeland and NYC is a relative newcomer on the trio scene but is someone I suspect will be a leading light in it for years to come. This new release, only her second ECM album has all the hallmarks of the classic label; beautifully recorded, amazing piano, hi-fi separation between drums, Roland Schneider, and bass, Gary Wang, and a sonorific, ethereal mix that you can lose yourself in after just a few bars. This really is beautiful music for all ages. As Butch said to Sundance, ‘Who are these guys?’. My backlog of reviews is growing and growing as new talents like Anat keep arriving and redrawing the boundaries of trio music.

With touches of Jarrett’s gospel inflections and Crispell’s space and compositional economy, Fort is nonetheless a new original voice that we must savour and delight in. Her association with Paul Motian, another lifelong explorer and master of time, on her previous recording is celebrated in two eponymous pieces top and tailing the set which float on a beautiful slow tempo of time remembered, memories past and love. As the final cymbal sizzle fades we get 12 more seconds of silence to give us time to re-enter the world – we need it. The rolling Clouds’ Moving and tender Minnesota see the trio exploring Americana flavours with an ease of expression and lightness of touch I seldom hear so sensitively played. The canon-like En If embodies a deep focused train of thought and the near 10 minute Something ‘Bout Camels is the collection’s masterpiece full of eastern nuance, finessed harmonic structure and rhythmic interplay of the highest order. Lanesboro is full of longing and paints a more classical picture to accompany the soulful Minnesota, a place I’ve never heard celebrated in Jazz but which obviously plays a significant part in Fort's affections. And just in case you were wondering, Nu shows that she can get down in the grit and grime of the funk with the best of them.

This is deeply romantic, evocative art. I end listening to the 50 minute set wanting to weep for all the beauty in the world or for all its dilemmas or both. I still don’t know which but I do know that this is music that will help you understand your own soul.

BENEDIKT JAHNEL TRIO - Modular Concepts

As the by-line of this blog infers, I’m an obsessive, I’m also terribly fickle. I have a new favourite pianist this week. So what’s his name today Paul? Benedikt Jahnel. It just gets better and better in Germany – as if Pablo Held, Jurgen Friedrich, Tim Allhoff and others weren’t enough along comes Benedikt (Bene) and his trio with the equally amazing Antonio Miquel – bass and Owen Howard - drums. With jazz trio X Factor (X as in the irreverent but majestic convergence of technique, swing, soul, tradition, time, vision and ‘the muse’) by the truckload, this is a masterpiece – and amazingly Jahnel’s first trio record although he has been very active in Europe and Stateside. On this blog I’ve chosen to review only music I love – it’s all 5 or more stars here. This can lead to a shortage or repetition of superlatives. This is a problem. The way Benedikt plays the piano is not.

I’m reminded of cascading waterfalls, early dawns, the pull of memory, the echoes of time and long vistas of what ‘might be’ when they play. Don’t be put off by the dull title - this music is far from that. It catches your ear, pulls at your sleeve and whispers sweet somethings in your ears to gain your attention long after the music has stopped. Compositionally it’s incredibly strong and memorable; the trio interacts in conversation at the highest levels of musical architecture and tripolar expression. At home with proto-classical/new age and folk forms, modal excursion and romantic exposition, the songs are both complex and simple, alluring but predictable, layered but accessible, romantic but cerebral. I’m finding it difficult to focus on one track as the programming order is so incredibly well finessed that it’s sounding like one suite of nine pieces seamlessly connected in time and space – a musical continuum of 50 minutes intense listening pleasure.

Something truly special has arrived on the trio scene. Immaculately recorded, glistening through the bytes, you’ll find many avenues to explore in this collection Buy it, don’t hesitate – this is where it’s at.

(Big thank you to J. Lennart Bastert of Paderborn, Germany for the recommendation).

ORRIN EVANS TRIO - Faith In Action

Have you heard Orrin Evans play the piano? With a loaded name like that, try Bill Keepnews, it’s easy to be confused but don’t be – you need to hear him, you should hear him, you will hear him. Making jazz albums since the mid nineties, I’m ashamed to say I’ve only just connected to this piano master born in New Jersey in 1976. Faith In Action is a tribute to the great alto player and composer, Bobby Watson whose tunes make up nearly half the CD. Playing here in the company of Nasheet Waits, drums and Luques Curtis, bass, the trio plays in a straight ahead contemporary style with hints of Tyner, Hancock and Monk at the roots. Evans has remained largely under the radar compared to some of his contemporaries in the US scene like Robert Glasper and Taylor Eigsti - maybe because his approach is totally uncompromising, acerbic and without artifice. He swings hard and unrelentingly; Don’t Call Me Wally, Appointment in Milano, but can also turn corners into reflective exploration and meditations on a mood; Matthew’s Song, Love Remains. I love it when the playing descends (or do I mean ascends?) into the avant garde on the fringes of pieces that seem to fray the edges of near oblivion like MAT-Mat and Wheel Within a Wheel. This is as good as it gets and when he launches into the Monk-washed, Two Steppin’ With Dawn, you hear the pedigree loud and clear.

For people who like well conceived hard swinging solos that knock at the doors of perception with no hint of commercial compromise, Orrin Evans and the trio is for you. It’s like sailing in a choppy sea in a sleek yacht with an experienced crew who know how to ride the crest of the wave. Highly recommended – the title says it all.

BILL CARROTHERS TRIO - Joyspring

I remember Clifford Brown – his Memorial Album was well spun vinyl in my collection. I loved his burnished tone and effortlessly melodic flights into bebop/hardbop stratospheres. Joyspring isn’t so much a tribute to him than a celebration of a musical spirit by one of my favourite pianists of late, Bill Carrothers (see my Zeitgeist post). With so much clarity of purpose, some obscure bebop tunes and fleet-footed masters Drew Gress, bass, and Bill Stewart, drums, on board, the trio puts a new spin on old favourites like Joyspring – transformed into an almost impenetrable reworking of the jaunty tune into a harmonically driven ballad – and I Remember Clifford into a soulful dirge of such protean genius it puts Bill Carrothers up with the other great expressionists like Jamal, Bley etc. Duke Jordan’s Jordu is transformed into something that wouldn’t have sounded out of place in the Cotton Club or the Five Spot simultaneously! The super fast in your face beboppers provide welcome contrast to the more oblique reinterpretations and there are plenty of them here to sate your appetite for swing; Gerkin for Perkin, Junior’s Arrival, Powell's Prances and Jacqui, all of which seem to skip on taut trampolines as the trio negotiate the changes in true vintage style but with a lightness and buoyancy that places all three squarely in the 2010s.

It takes someone with Carrothers’ wit, intellect and creativity to make a piano trio offering of songs made famous by a trumpeter (and it has to be said with some Bud Powell thrown in) sound this well conceived and this seems to be one of his trademarks – he always keeps you guessing and never makes a predictable conceptual turn, but when the music starts up you ‘get it’ after the first note and are taken by the hand instead of left hanging, wondering why? – to do this well you are a true great indeed. Go get ‘em Bill – you’re in a real purple patch and I’m waiting for your next offering with bated breath.

PABLO HELD - Forest of oblivion

If you had around 15 bucks to spare and wanted to make a contribution to the advancement of the human race you could do a lot worse than buy Pablo Held’s first CD, Forest of Oblivion. I’m staggered that a 23 year old (21 when he cut this disc - he was winning jazz piano prizes at 12) and his trio can make music as beautiful as this. Whatever Germany is doing in its music education system to help produce talents such as Pablo (and Friedrich and Allhof to name but two more) other countries, please take serious note. I really can’t fault anything on this near perfect rendition of piano trio music - the impressionistic lyricism of Ana Maria, the controlled post-bop of swinging Hand Jive, the stately beauty of Melody. Much more than ably assisted by bassist Robert Landfermann and drummer Jonas Burgwinkel, this is a stella trio you’ll never regret listening to – try the Hancock inspired Phase II or the probing mood swings of Two Questions One Answer. I see that one of his teachers was one of Britain’s national treasures at the piano, my hero, John Taylor - I can hear his influence but I can also hear the souls of three young men cutting through all the transient flutter in this world and making a statement of intent to help us all appreciate beauty and truth.

I once said to my young cousin Tom that Muddy Water’s 1977 version of Mannish Boy would be on my iPod until my dying day. It still will be Tom, but I’d like to lend you 15 bucks if you have 120 Megs free to make room for Pablo the peacemaker.

JÜRGEN FRIEDRICH - Pollock

Jackson Pollock’s work has often been fertile ground to explore for contemporary jazz musicians who find his work analogous with the rhythms, intensity, irreverence and improvisational qualities of the genre and German pianist Jürgen Friedrich’s, new CD Pollock, is no exception. Teaming up once again with top drawer American bass and drums; John Hebert and Tony Moreno, this collection of deeply reflective musical conversations takes great strides forward in terms of confidence and quality from his previous release Seismo which was at times fey and unfocused. The trio now sound strong with the conviction to explore the idea and spirit of the pieces, not please the crowd with trendy trio sound swatches.

The opener, Drift, starts Debussy-esque and then wanders down other avenues of more intense trenchant passages which Moreno underscores on the tom toms rather than the snare to keep the rolling, wave-like qualities of the piece surging over you. A beautifully reconsidered seven minute offering of ‘Round Midnight seems to drift in and out of different tempos with Friedrich letting the melody directly inform the harmony and rhythm more than the traditional harmonic structure itself – it sounds like the song as sung. Ripple, one of several strong originals, has soulful undertones, blue notes and classical cadences that seem to typify this trio – a breath of fresh improvised air with multiple influences built on a foundation of sensitivity, collaboration and conversation. Pollock is one of three short collectively improvised/composed pieces and evokes the idea of the master at work in which we hear the more disturbed, restless side of the Pollock persona.

The final Flauschangriff has the in and out of tempo feel of ‘Round Midnight though with less subtle, more strident juxtaposition between structure and improvisation – it’s a lovely meandering contemplation of melody and harmony and makes you mindful that this isn’t just another manufactured trio hitting the scene. It’s a special musical unit striving to find new ways to make the strings of the piano and bass and skins of the drums and bronze alloy of the cymbals sound nearer to the outpourings of the human soul - something I suspect Pollock was trying to do with paint on canvas.

BILL EVANS TRIO - 1960 Birdland Sessions

This isn’t a review as such. For me reviewing a Bill Evans album would be akin to reviewing my sister, my wife – the music, as are the people, is just too personal and entwined around my life to find anything like the right words but…

…I do have a story about the music in this new and incredibly good value re-release – Bill Evans 1960 Birdland Sessions. When I was first playing jazz gigs around London in the mid 1980s packing my doublebass into my VW Beetle I was playing with a pianist, Chris Lowe, from north London. He was a great pianist and also a Bill Evans aficionado – he taught me so much and told me so many stories about Bill and the trio and their performances at Ronnie Scotts in the 60s and 70s he frequently went to see. One day after practicing at his house he pulled out what looked like a homemade rough cardboard vinyl album sleeve – it contained a radio broadcast bootleg of the Bill Evans trio with Scott Lafaro and Paul Motian at Birdland in 1960. The first track he played was Tadd Dameron’s Our Delight. It was the most exciting music I’d ever heard. I stood transfixed - a turbo driven trio going for broke and swinging like the world was about to end with a sense of purpose I’d never heard the likes of before. Such intensity and clarity of thought forever breaking, for me at least, the marketing people’s slant of putting Bill Evans into the ‘For Lovers’ ballads box. I looked at Chris as if he had in his hand the Holy Grail of music. My love affair with jazz trios and what they could be capable of delivering to my ears and heart was cemented.

The badly recorded but somehow vital air shots seemed to strip down the music to two things; swing and lyricism. Lafaro sounding intense and focused, Motian like a modern day Gene Krupa giving the high-hat more than its usual attention. I asked Chris to play it several times over the following years but I lost touch with it and later, him. I still recalled it frequently, that unison, near-demented block chord intro forever etched on my soul, and sometimes I searched for it in specialist jazz magazines but I never found it. Then life interrupted and it got relegated somewhere deeper into my memory until now….thanks to this re-issue.

Our Delight - six minutes thirty-eight seconds of utter unrelenting jazz magic (not to mention the other hour of outstanding tracks from the vintage Evan’s period) and wow, that intro, welcome back.

STEFANO BOLLANI TRIO - Stone In The Water

I struggle with words, they either flow in jumbled torrents or it’s like pulling teeth to find two of them to put together that make sense. When I hear a CD like Stefano Bollani’s Stone In The Water they seem like peripheral, blunt instruments. My review heroes are people like John Fordham of the Guardian who says everything that needs to be said and more in 150 words so as an exercise I’m going to try.

Bollani, (b.1972) is one in a line of great Italian jazz pianists that includes another favourite Enrico Pieranunzi and more recently the Alboran Trio, who blend the contemporary jazz tradition with European classical and folk influences and tones of Latin flavour. In this set he includes a Jobim; Brigas Nunca Mais, a Poulenc; Improvisation 13 en la Mineur and some memorable originals from him and his Danish rhythm section Jesper Bodilsen, bass and Morten Lund, drums. Romantic lyricism is the focus here played with such a tender unsentimental gentleness and inner conviction of what beauty can be when heard, that it feels like a definitive statement on the matter. Unlike the quirky slightly esoteric interpretations on his previous solo piano release, here Bollani is setting out to communicate with a broader brush and shared empathy required of the trio format. There’s an assured mood of confidence, mastery and story-telling that pervades each tune that will stand the test of time. Bollani is letting us into his world note by note and Stone In The Water lets us know that it’s going to be a beautiful place to explore.

OK, so 186 words and a bit stiff methinks. Any tips John? Anyone?

TIM ALLHOFF TRIO - Prelude

Just when you think things couldn’t get any better more often than not a surprise is waiting that opens a new vista of listening stimuli. That surprise is the German Tim Allhoff Trio – Prelude – his maiden CD. Now let’s get something straight here – we (and I include myself here) need to develop a new vocabulary for the new post Mehldau/EST generation pianists and trios that frames them in current times on their own terms. It’s no longer enough to start reviews with ‘the list’ – this new breed of piano trio needs to be listened to in today's context. I love Tim Allhoff’s trio including the easily anarchic Bastian Jutte on drums and risk taking skydiver Andreas Kurz on bass. Tim’s vision is clear on evergreen Long Ago and Far Away that starts with a contemporary rock block chord intro that seamlessly converts to up-tempo brushes on snare and fleet fingered in and out of tempo right hand lines that anyone from Count Basie to Cecil Taylor would have been proud of. Seven and a half minutes of relentless deep swinging improvisation, the trio sounding like a unit of momentum that could take on any New York basement jazz club and melt the paint off the walls. Thanks to the current renaissance of the piano trio (of course driven by Mehldau, EST et al), bands like Tim’s can now embrace all styles without fear of recrimination, out moded-ness or not fitting into a particular marketing box.

His beautifully nimble left hand often fills in much more than the voicings to the harmony - sometimes Bach-like, sometimes Tatum-like, he can pull off a cover of Don’t Speak simply because he’s not afraid to keep busy and creative in both hands - I really admire his creativity and risk taking. The beautifully measured but complex Ikkakuju sees the trio at their best, contrapuntal lines from bass and piano underpinned (I actually mean ‘overpinned’) by the fleet, textured drumming of Jutte. There’s a lot to get into here listening after listening. The originals show a level of thought and care that’s heartwarming to hear. When you read titles like Waltz For Jane Austen and Song For Mrs Jonathan Brisby you know you’re in the hands of someone who draws inspiration from a deep well full of contemporary themes, humour and new perspectives. When you get to the brilliantly shining Ohne Titel, the trio does eventually lay down some new trio trademark unison bass and left hand piano lines but Jutte’s drums and Allhoff’s right hand keep it interesting and complex, never tedious. And then, just when you were wondering how they'd make it to the finish line, the trio lays an utterly sublime and dignified version of Don’t Explain on you to conclude the set, that serves as a reminder of the roots and routes all good jazz musicians have studied and followed, you know that all this – all this fine iridescent music - is the beginning of something special. The over three minute solo coda is like a whole new chapter appended to this beautiful old standard that would have made even Lady Day sigh. Dang! seriously good music herein.

TRICHOTOMY - Variations

The minute I heard this CD I knew it would be my next review – but it’s been a wait because it’s a grower – every time I start to put pen to paper a new musical avenue reveals itself so I release the pen and immerse myself in this wonderfully layered beautifully played music once more, the review on hold. Australia seems the place to be at the moment jazz trio-wise, having just recently review Aaron Choulai’s Ranu and now this, Variations from Australian trio Trichotomy. Living up to the philosophy that the trio for me at least is the ultimate expression of ‘man’s threefold nature’, the reviews are ablaze with comparisons to EST but they also accurately state that Trichotomy are no copy-ists – this is a contemporary trio masterpiece that runs the influence gamut from Satie like on Please, James.P Johnson, hear Chunk, to the current day triorioteers from Europe and America but with more space, silence, mood change and sonic variation.

Trichotomy are Sean Foran, piano, John Parker, drums and Pat Marchisella, bass and it’s difficult to choose a leader here – and this is their strength – they practice true trichotomy –all excelling as soloists but exceeding the sum of their parts. Adding guests on violins and sax on the romping EST type vehicle Start and trumpet plus deliciously understated electronics on the beautiful meditation on space, time and resonance that is Ascent, the band collectively explore so many more musical avenues than a typical CD of this genre usually does and with less of the repetition that some more overtly EST influenced outfits use. At times cinematic; Everything that Isn’t, grooving; Chunk, monumental; Island of the Sun, experimental; Labyrinth, Flamenco; The Unknown, swinging; Paddles, or classical; Please, Trichotomy manages to pull all this off without affectation or artifice, coaxing all their influences into an homogeneous offering to the angels of the muse. Because I’m an old romantic at heart and like to hear the space between instruments, John Parker’s Please and Foran’s Ascent are my standout tracks – every so often someone will write a theme that will entwine itself around your soul forever and Please is such a song.

Sometimes you have to remind yourself that you can pay for and download magnificent music like this in seconds without even leaving your chair. In these techno-days of ‘everything’s amazing and nobody’s happy’, Trichotomy’s Variations reminds us that some people still know how to play mechanically generated notes together and make them sound like they were caressed by the wind from an angel’s wings.

KEVIN BRADY TRIO - Zeitgeist

I’ve recently got into the fabulous pianist Bill Carrothers from his I Love Paris CD (2006) that proves that good music like good acting just needs someone to look you directly in the eye and speak honestly from the heart without affectation. So I was happy to see him as pianist on new release Zeitgeist under the name of Irish drummer Kevin Brady’s Trio. It’s an absolute delight of beautifully played jazz full of great tunes soulfully rendered and all with a story to tell. That Russian Thing, Waltz Macabre and the deeply ruminant Church Of The Open Air in title alone, all conjure up interesting cinematic images across a range of genres that will have you absorbed. Carrothers is a seriously top draw pianist – with a sometimes Bley-like light touch and elegiac John Taylor style voicings that span both hands – he manages to evoke the style and period of the songs, especially on standards, whilst imbuing them with his individual contemporary edge and oh yes, he swings like the best of them, with the spirit of the great pre-bebop swing pianists like Hines, Cole, Ellington, Garner and Wilson in attack and clarity of line – check out the romping block chords in Home Row. In contrast, on the collectively written Zeitgeist and the impressionistic version of Shorter’s Little Nile he draws on more contemporary even avant-garde piano influences - they've all been refracted through Carrothers' diverse musical prism.

There’s a prevailing mood of freshness, mutual respect and drive that all serve to tell these 10 very different musical stories culminating in the moving Lake Superior homage, Gitchee Gumee, a 7 minute investigation of the soul, full of gospel inflections and probing right hand lines all underpinned by a slow pulsing foundation built by Brady and the stella bass playing of Dave Redmond that will make you murmur ahhhhh out loud as the final chord fades. The all hearing, light and shade drummer, Brady, is a new discovery for me and I can see why this marriage works – both (and I should include bassist Redmond here who is their equal) have a respect for the trio lineage starting way back before any of us were born, both swing like crazy and both have the toolkit and chops to wrap everything up in a sound that yes, feels like it is the Zeitgeist of the jazz piano trio of today. I always hesitate for a few nano seconds when I see trios headed by drummers for obvious reasons, but have no fear, this one is as good as they get and in many respects better than most.

Do you remember going away traveling for a while and then eventually coming home and reaching for an album to play to settle yourself back into reality and the promise of new things ahead? This is what you’d choose.

AARON CHOULAI TRIO - Ranu

You soon realize that the jazz piano trio format is now pretty universal and adaptable across genres when you hear Papua New Guinea born Aaron Choulai playing a deeply moving 10 minute reinterpretation of folk rockster Neil Young’s Tell Me Why. This, his third CD, Australia based Choulai’s Ranu is a delight of fresh perspectives, airy excursions, romantic ruminations and melodic meditations underpinned by a complete technique and mastery of the tradition – he’s going to be a significant other well beyond the Antipodes. More than ‘ably assisted’, more like ‘partnered by’, full toned, bluesy Sam Anning on bass, check out Bedira, and ever mindful Rory McDugal or Ben Vanderwal on drums, hear Deep Mountain Gone, this trio opens up a wonderfully full rummage bin of over an hour of new moods and atmospheres for the trio lover. He has a lovely contemplative gait on Radiohead's The Tourist and Dreams Of Paper and excels in disguise and near impertinence on the two standards, the deliciously re-harmonised slow You Go To My Head and a jaunty I’ll Be Seeing You with its cheeky extended coda reminiscent of Miles and Wynton on Bye Bye Blackbird at the Blackhawk. The intimate White Scarf is a deeply original, threeway contemplation of space, texture and resonance sounding at times like a medieval courting ritual full of ebb, flow and mystery. Beautifully recorded, conceptually strong and full of maturity beyond his years, the channeled emotion of Ranu is going to be a well thumbed, if digital files can be so, piece of data on my hard drive. It’ll soon be in all your playlists regardless of genre or mood.

Do you remember becoming more and more aware of the transition from winter to spring and feeling that the air smelt different and there was a new quality to the daylight? Ah, Aaron – bringing in the new like a good old soul.

URI CAINE TRIO - Live At The Village Vanguard

There are boys and there are men, there are masters and there are apprentices and there are jazz clubs and there is the Village Vanguard. During his illustrious and varied musical career hybrid piano muse Uri Caine seldom makes straight ahead trio recordings but thank the lord he decided to make one in Greenwich Village in 2004 with the stella Drew Gress on bass and Ben Perowsky on drums. I’ve only been to the Village Vanguard once (Eric Reed on piano - marvelous) but that was enough to feel the spirit, see that famous Exit sign that Paul, Bill and Scott sat under and listen to giants. This album belongs to the category of great recordings made in the club that should be in most record collections (Evans / Coltrane / Rollins/ Pepper / Henderson etc) with over 70 minutes of some of the best modern jazz piano trio music you’ll hear, beautifully arranged and executed with improvisational mastery and the sound of surprise by the truckload. Immune to the fashions and trends the current batch of twenty and thirtysomething piano trio-ists can succumb to, Caine and the trio deliver on all fronts: improvisation, imagination, swing, drive, invention and a good dose of irreverence.

The first five minutes and 30 seconds of the super fast, intensely swinging sometimes playful Cheek to Cheek that see Caine careening around bends like a latter day Michael Schumacher are worth the price of the album alone. Sometimes reminding me of Chick Corea on Now He Sings and even Andre Previn’s early Contemporary label trios in attack and classically polished fingers on the standards Cheek To Cheek, I Thought About You and All The Way, there’s not a dull, marking time moment amongst these pearls. You’ll love the angular BushWack (a tribute to 'our Commander in Chief’ – remember this was recorded in 2004), the free exploration of Stiletto and the overdriven Monkish themed Snaggletooth full of moments of rhythmic serendipity between the three musicians. Shorter’s Nefertiti is given a full examination and reaches a swinging intensity seldom heard these days. Caine is not afraid to run the trio gamut from Cecil Taylor to Ramsey Lewis with no small amount of aplomb.

If you want to go past the standard 4½ minute track into the fertile ground of the 8 and 9 minute live voyage this is the place to stop and revel in piano trio music in the tradition, on the edge and from the soul.

PS:..and as if the sound engineer read my mind s/he leaves 30 seconds of between sets audience banter at the end of the CD...and I'm truly there at 178, 7th Avenue South.

AVISHAI COHEN TRIO - Gently Disturbed

Imagine a thoroughbred racehorse on top form, groomed and toned to perfection but still possessing the instinct to make every stride count and you’ll begin to get the picture of Israeli bassist, Avishai Cohen and his trio. Gently Disturbed is a master class in music of any description. Thriving on unison lines, multiple layers of tonal textures that borrow from jazz, classical and Jewish folk forms, frenetic rhythms that verge on the edge of entropy but always bring you home safely and complex compositional structures like Variations in G Minor, it will take me years to uncover the mille feuille of this music. When they do take a breath the gentle renditions of Jewish songs like La Baiom Velo Balyla and Umray make their roots clear while still imbuing them with the jazz signature. Mention must be made of the impeccable piano playing of Shai Maestro - yes with a name like that you only really have one destiny. His fingers drip with arpeggios, counterpoint, rhythm and romance. Cohen himself makes the higher register of the bass, the dusty end as my old friend Mike used to call it, sound as easy to play as a 3 stringed ukulele. On first listening it may all appear frantic but you soon hear the subtleties - Seattle is full of longing, Chutzpah is full of ..well yes, chutzpah and The Ever Evolving Etude beset with blind corners and offset accents that will keep you guessing. Not for the fainthearted, Gently Disturbed will either blow your mind or leave you elated – there’s no middle ground here but both options appeal.

Do you remember when you were a child….sorry no point of past reference here. Incredible synchronicity.

HAROLD LÓPEZ-NUSSA TRIO - Herencia

If like me you've always wanted to go to Cuba to listen beyond the tourist servings of Son, Canción and Social Club to hear what the cutting edge of Cuban jazz has to say, Harold Lopez-Nussa and his trio are a good place to start. Classically trained but sounding as if he'd be as comfortable in the basement as the concert hall, Nussa has chops a plenty and synthesises the diverse melting pot of Cuban styles into a unified and driving celebration of the jazz trio Cubano style. With his brother Ruy on drums and the powerhouse generator of Felipe Cabrera on bass, the trio easily switches from romping left handed bass/piano unison steamroller, La Jungla, to yearning explorations of tonal colour, Herencia, from introspective pop reinterpretation, Tears In Heaven, to street march, Timbeando and make it all sound like one musical concept. Never outstaying his welcome when he stretches out in the groove yard, his classical technique enables him to add new flourishes, codas and ensemble sections that give the music a contemporary but totally rooted feel like on En el lsa where he tastily adds ensemble voices to enhance the chorus. Regularly playing in Cuban singing legend's Omara Portuondo backing band, she sings on one track, Es Mas, Te Perdono, sounding for all the world to me like a tribute to the recently passed Mercedes Sosa. The final track, the solo tribute Mama, reveals the breadth of his technique and emotional scope all fused into one beautiful rendition well beyond his years. Make no mistake, Harold is the best thing to happen to Cuban piano jazz since Gonzalo Rubalcaba and he brings a new voice full of good tunes, great improvisation, respect for the tradition, humour and cutting edge textures to make him a stayer.

Do you remember hearing Buena Vista Social Club for the first time (before it joined the ranks of Gypsy Kings overplayed musak), and wondering when someone would embody all of that spirit into something utterly brilliant, beautiful, articulate and contemporary?

ALBORAN TRIO - Near Gale

I’ve seen some reviews saying the Alboran Trio are stepping into the void left by EST after the tragic death of Esbjorn Svensson but I don’t see it at all. Led by Italian pianist Paolo Paliaga (though ‘led’ is not the right word here), Alboran have a distinct style and approach that to my mind displays no other ambition than to play beautiful trio music. They use classical, jazz and folk styles that combine like the last rays of the sun reflecting on the gentle swell of a lake in the late afternoon. Perfectly recorded with as much attention to silence and separation of the instruments as to the sounds they make, the intimate conversations between the three flow from movement to movement as if each were a perfectly formed sonata – Delle Cose Nascoste/Autumn Mist. Paliaga’s piano, Contenti’s bass and Biolcati’s drums seem to work as one, seamlessly mixing melody, harmony and rhythm that at times evoke images from the Mediterranean, Atlantic, Black, Caspian, Dead, Adriatic and North Seas in a rich mix of limpid, crystalline tunes ranging from storm to still. Water in all its forms and reflective abilities is the theme for me with Alboran. Without proselytizing they seem to be saying, life is a rich diverse mix and yes it is good so dive in. I’ll try and review their first CD, Meltemi, also excellent, here at a later date.

Do you remember the last time you had some really excellent Italian food where the balance between the wine, pasta, water, salad, bread and conversation seemed to elevate the moment to something transcendent…?