What I've Been Listening To Lately - The Jazz Piano Trio Edition

The piano trio has been a jazz stalwart at least as far back as the 1920s, even if the earliest popular trios were not the classic lineup of piano, bass, and drums. For example, in 1927, Jelly Roll Morton cut some trio sides using clarinetist Johnny Dodds and his brother, drummer Baby Dodds. In 1929 he similarly recorded with Barney Bigard on clarinet and Zutty Singleton on drums. (left)

 

In the mid 1930s the jazz trio format gained a wider audience when clarinetist Benny Goodman formed a superstar group with pianist Teddy Wilson and drummer Gene Krupa. A few years later, out in Los Angeles, Nat Cole put together his first trio, The Nat Cole Swingsters, performing with guitarist Oscar Moore and bassist Wesley Prince.

The classic piano/bass/drums trio lineup came into its own during the Bebop era in the mid to late 1940s. One of the first great modern piano trios was Erroll Garner's 1946 group with Red Callender on bass and Lou Singer on drums. They were followed shortly after by the Bud Powell Trio with bassist Curly Russell and drummer Max Roach and then in 1949 by the Dave Brubeck Trio with Ron Crotty on bass and Cal Tjader on drums. In the 1950s and early 1960s, the modern piano trio hit its stride with a wealth of fabulous groups led by such greats as Ahmad Jamal, Oscar Peterson, Ramsey Lewis, George Shearing, McCoy Tyner, Gene Harris, Marian McPartland, Andre Previn, Horace Silver, Sonny Clark, and Vince Guaraldi. 

Perhaps the greatest and most influential of all the jazz piano threesomes was the Bill Evans Trio. It was also one of the longest-lived jazz trios, recording and performing for some 20 years, albeit with seven different bassists and ten different drummers. (Indeed, Evans' first three LPs alone had three different bass players (Teddy Kotick, Sam Jones, and Scott LaFaro) and two different drummers (Paul Motian and Philly Joe Jones.) 

 

In addition to his musical genius, Evans' great contribution to the jazz trio was to democratize the format. In the liner notes to his 1960 album Portrait In Jazz, Evans is quoted as saying: “I’m hoping the trio will grow in the direction of simultaneous improvisation rather than just one guy blowing followed by another guy blowing. If the bass player, for example, hears an idea that he wants to answer, why should he just keep playing a background?” In Evans' conception, the trio was no longer a pianist backed by a rhythm section, but a three-way conversation. 

 

Evans' ambition was most fully realized in his early work with bassist Scott LaFaro and drummer Paul Motian. Reams have been written about the seemingly telepathic communication between the three players, particularly the interplay between Evans and bassist Scott LaFaro. [If you've forgotten just how magical their sound was, stop reading right now and go listen to Sunday At The Village Vanguard (Riverside RLP 9376). Focus on the dialogue between LaFaro and Evans. Gives me goose bumps every time.]

 

Of course, the Vanguard recordings were made impossibly poignant by Scott LaFaro's death in a car accident in 1961 at the age of 25 - a mere ten days after the sessions. Evans was devastated by the loss and spent the rest of his life chasing the cosmic connection he felt with LeFaro during their brief 1959-61 musical partnership. As a tribute, Evans put LeFaro's name on the cover of the resulting album, billing the sessons as "Featuring Scott LeFaro." LeFaro's death remains one of the greatest tragedies in jazz history (which is chock full of tragedies).

 

As much as I enjoy jazz quartets, quintets and larger ensembles, I confess that I often feel like I'm missing some of the action. With two or three primary instruments in the front line, I sometimes think I'm not hearing and appreciating all the individual contributions. Whereas with a piano trio, it's easy to follow each instrument and hear the interaction and exchange between the players. Which makes for a very satisfying listen. It's no surprise that piano trio recordings by the likes of Bill Evans, Ahmad Jamal, or Vince Guaraldi account for a good portion of my LP listening. And lately, I've been digging deeper into my collection for less well-known gems from the piano trio canon. I love discovering great new-to-me music and hope that some of these artists will be new to you as well.

 

Denny Zeitlin - Cathexis (Columbia CS 8982)

 

Zeitlin is a singular figure in modern jazz. His debut album, Cathexis, came out in 1964, just as he was completing his medical degree at Johns Hopkins University. Soon after the album's release, Zeitlin moved to San Francisco to begin a medical residency in psychiatry. It's safe to say that Zeitlin is the world's most successful jazz pianist who is also a practicing psychiatrist. [At the time of this writing, Zeitlin, who is 86, continues to perform and to teach psychiatry at the University of California, San Francisco.]

 

A student of George Russell, Zeitlin's influences include Lennie Tristano, Bill Evans, George Shearing, and Dave Brubeck. If you dig these artists, you're likely to enjoy Zeitlin's music. Downbeat Magazine calls his performance "A stunning display of instrumental virtuosity, emotional depth, and musicality." Cathexis was recorded at Columbia's famous 30th Street Studio in NYC, and the original two-eye pressing sounds terrific. The legendary John Hammond (who played a key role in the careers of scores of artists, including Bob Dylan and Bruce Springsteen) produced the album and wrote the liner notes. Zeitlin is backed on the album by the great Cecil McBee on bass and drummer Frederick Waits. Inexplicably, the two are not credited on the album (but are mentioned in the liner notes.) Zeitlin would go on to record three more albums for Columbia, all of which are well worth a listen.

 

And just in case you're wondering, Cathexis is a psychoanalytic term that refers to the mental or emotional energy that people invest in themselves, others, or objects.

 

Paul Bley Trio - BeBop (1990, SteepleChase SCS 1259) 

 

Paul Bley was born in Montreal in 1932. A musical prodigy, he sat in with touring American jazz bands in his early teens. In high school, the great Oscar Peterson (also from Montreal) asked him to fill in when he had to cancel a gig at a local club. In 1950, Bley left Canada to study at Julliard in NYC. Within a few years he had cut an album with Charlie Parker and was performing in Manhattan clubs with the likes of Jackie McLean and Lester Young. On his first album, Introducing Paul Bley, released in 1954 on Charles Mingus' Debut label, Bley is backed by Mingus on bass and Art Blakey on drums. Holy smokes! 

 

Unfortunately, I can't stand most of Bley's music, which (at least to my ears) is a brand of atonal and discordant free jazz. However, beginning in the mid 1980s, Bley cut a series of five trio albums for Denmark's SteepleChase label that are pretty close to mainstream jazz. BeBop was the fourth of these, released in 1990, and features Bob Cranshaw on bass and Keith Copeland on drums. BeBop was produced by Denmark's own Nils Winther and is a great example of what beautiful music Bley is capable of when using his powers for good.

 

Paul Smith Trio - This One Cooks! (1981, Outstanding 012)

 

Paul Smith, yet another child prodigy, was born in San Diego in 1922 and began playing professionally when barely out of high school. After a tour in the military, Smith found work with Les Paul's group and then in Tommy Dorsey's band. 

 

By 1950, Smith had settled permanently in Los Angeles, where spent most of his career as a studio musician playing on television soundtracks and motion picture scores. His Hollywood resume also includes stints as the musical director for The Dinah Shore Show and The Steve Allen Comedy Hour. In addition, Smith was an in-demand accompanist, playing for Bing Crosby, Doris Day, and Sammy Davis Jr. among others. He had a decades-long association with Ella Fitzgerald as her pianist and musical director.

 

Along the way, Smith played on hundreds of albums, including more than 50 under his own name. Despite his success (or at least his ubiquity), many music critics failed to take Smith seriously, writing him off as all flash and little substance. In particular they didn't care for Smith's tendency to "quote" other songs while playing, for example, inserting a bit of "Santa Claus Is Coming To Town" while playing the classic tune "Take The A Train." Smith says that he just liked to keep things loose while playing, but the critics weren't impressed.

 

In fact, Smith's playing on This One Cooks! will likely not impress you as an example of deeply introspective jazz. However, he will knock your socks off with his astounding virtuosity. And even better, the music is a hoot. Drummer Frankie Capp and bassist Wilfred Middlebrooks expertly sustain Smith's often frenetic pace. In the liner notes, Middlebrooks says that when playing with Smith, his role is "To support him and stay out of his way." Finally, keep your ears peeled for several of Smith's signature "quotes" on the album. "From The Halls Of Montezuma" makes its way into Jobim's "Meditation."

Richard Beirach - EON (1975, ECM 1054)

 

Richie Beirach was born in 1947 in Brooklyn. He studied piano from age 6 to 18 with composer James Palmieri, then continued his musical education at the Berklee College of Music in Boston and the Manhattan School of Music in NYC. He began playing in Manhattan clubs in the mid 1960s, including gigs with Freddie Hubbard, Lee Konitz, and Stan Getz. Eon was Beirach's debut release under his own name.

 

The first track on the album, Miles Davis' classic "Nardis," might initially lead you to think that it's Bill Evans on piano. Beirach was friends with Evans (his second album is called Elegy For Bill Evans), and his playing has more than a touch of Evans' lyrical, inventive style. And like Evans, on this recording Beirach displays an almost telepathic connection with his bandmates, bassist Frank Tusa and drummer Jeff Williams. 

 

The music on EON is both haunting and uplifting. AllMusic critic Chuck Berg says "This is simply my favorite piano trio recording of them all. It is magic from start to finish. Beirach's playing is a great mix of stunning technique and space. Frank Tusa provides melodic counterpoint and Jeff Williams is simply playing pure music. Three guys playing as one." 

The album was released by ECM, produced by the label's indefatigable boss, Manfred Eicher. Like nearly all ECM releases, the sound is exceptional. A true hidden gem.

Hal Galper - Naturally (1987 Black Hawk BKH 529-1)

 

Raise your hand if you've heard of Hal Galper. Anyone? Until I chanced upon an unopened copy of this title at a used record store, I do not think I had ever seen or heard Galper's name. So, I'm glad I took a flyer on the album based on the names of his sidemen.

Galper grew up in Salem, Massachusetts and attended Berklee College in Boston. He got his start performing in local clubs there, including as a member of the house band led by Herb Pomery at a Beantown club called The Stable. Galper later gigged with Stan Getz and Chet Baker (among others) before joining Cannonball Adderley's quintet in the 1970s. After that, he held down the prestigious piano chair with Phil Woods' Quintet from 1980-90. [Later occupied by Bill Charlap. See below.]

 

Galper cut his first album as a leader in 1971 and to date has some 18 albums to his credit. Among the many brilliant players who have appeared on his sessions are Michael Brecker, Tony Williams, Cecil McBee, Victor Gaskin, Dave Holland, Lee Konitz, John Scofield, and Reggie Workman.

 

Despite his obvious talent, Galper has flown beneath the radar for most of his career. AllMusic critic Scott Yarow opines that "He is a talented pianist in the modern mainstream/post-bop genre. His music is thoughtful, always swings, and has some surprising twists and turns." The album Naturally was recorded in 1982 at a live concert in Sydney, Australia with Rufus Reid on bass and Victor Lewis on drums.

Bill Charlap Trio - Street Of Dreams (2021, Blue Note B0033904)

 

If you aren't already on the Bill Charlap bandwagon, what the heck are you waiting for? In the words of music critic Matt Collar, "Charlap is a swinging and lyrical post-bop improvisor and accompanist, as well as a celebrated interpreter of standards. He debuted in the '90s with Gerry Mulligan and has performed with jazz icons like Benny Carter, Phil Woods, and Clark Terry. What is so compelling about Charlap's playing is just how balanced it is. He's clearly imbibed an array of influences, from Earl Hines and Teddy Wilson to Bud Powell and Bill Evans, yet he always sounds like himself."

 

The 2021 release Street Of Dreams features the sympathetic (but unrelated) pairing of Peter Washington on bass and Kenny Washington on drums. Even though Charlap has more than a trace of Evans' lyrical creativity, there is no Vulcan mind meld with the Washingtons. After more than 25 years playing together, their roles are quite clear: The Washingtons provide a rock-solid rhythm backing for the star of the show, and I'm OK with that.

Ross Tompkins Trio - Street Of Dreams (1983, Famous Door HL 143)

 

What are the odds, right? Another album with the name Street Of Dreams. [In fact, there are at least six albums with this name, the first being a 10" LP by the Ink Spots, released in 1955.]

 

Born in 1938 in Detroit, Ross Tompkins attended the New England Conservatory of Music before moving to NYC and working with a host of groups, including Kai Winding, Eric Dolphy, Bob Brookmeyer, Zoot Sims, Bobby Hacket, Benny Goodman, and Wes Montgomery. In 1971, Tompkins moved to Los Angeles, where he played with Louis Bellson, Joe Venuti, and Red Norvo before joining Doc Severinson and the Tonight Show Band in 1972. He remained with the band until Johnny Carson retired in 1992.

Tomkins' Street Of Dreams album was released in 1983, and features John Heard on bass and either Jake Hanna or Nick Ceroli on drums. The playing is strictly mainstream, but has a flowing lyricism that is quite lovely and compelling. The release, on the Famous Door label, was mastered by the talented Gladys Hopkowitz, and sounds very natural and dynamic.

The John Bunch Trio - The Best Thing For You (1987, Concord Jazz CJ-387)

Bunch was born in 1921 and hails from Tipton, Indiana. By the time he was in his teens he was playing professionally with various bands in the Hoosier state. During World War II, Bunch served in the Army Air Corps as a bombardier on a B-17. He was shot down over Germany in late 1944, and remained a prisoner until the end of the war. 

Back home in Indiana, Bunch tried his hand at various jobs, but finally moved to Los Angeles in 1956 to try and jump start his musical career. He found work with George Auld, Jimmy Rowles, and Woody Herman's band. After two years, he moved to NYC where he played in bands led by Maynard Ferguson and Eddie Condon. 

In 1966, Bunch became Tony Bennet's pianist and musical director, a position he held until 1972. For the next 30 years, he worked steadily in New York and London, performing and recording with his own groups, as well as bands led by Benny Goodman, Bucky Pizzarelli, Buddy Rich, Gene Kruppa, Scott Hamilton, and many others.  

The Best Thing For You is a 1987 outing on the Concord Jazz label. Like nearly all Concord titles, Bunch's LP is strictly mainstream jazz. The songs are a varied selection of standards - from Gershwin to Bossa Nova - played in a mostly upbeat, swinging style, sure to put a bounce in your step and a smile on your face. The sidemen are Phil Flanigan on bass, and Chuck Riggs on drums.

Let me know if you have other lesser-known jazz piano trios to recommend.

Enjoy the music!