When you think of jazz trios, what usually came to mind is the piano-bass-drums format. There are a couple of those here, but a couple other entrées fit in as well.
Tenor saxist Ben Wendel teams up with Harish Raghavan/b and Nate Wood/dr for a collection of originals. Wendel has a rich old school sound, thick and breathy, but Wood’s hard hitting stick work keeps the feel modern. Raghavan keeps the groove intact as Wood forms patterns for Wendel’s solos on pieces such as “Unforeseeable” , “Something New” and “Bass Song” while brushes work well on 
the subdued “Memorial.” The team gets laconic and Wendell is dreamy on “Subway Song” while Wood gets busy on “Yes You.” The contrast of the heavy sticks 
with foggy tenor works well here.
Gilad Hekselman teams up his guitar with Joe Martini/b and Marcus Gilmore-Jeff Ballard/dr for a Pat Metheny-inspired outing. Metheny’s own “Last Train Home” has a rich bounce as Ballard delivers a rich rivulet while the leader’s own “Homes” and “Verona” display a gentle lyricism. His acoustic guitar works well on “Home E-Minor” and he plays with electric effects that occasionally meander on “Cosmic Patience.” Gilmore snaps to attention of the bopper “Parisian Thoroughfare” and the team gets wistful on “Samba Em Preludio.” Well displayed modern musings.
Pianist Bob Albanese wisely chose Eddie Gomez to be the bassist (along with drummer Willard Dyson) on this tribute to Bill Evans, since Gomez was an important part of Evans’ 70s trio. Albanese has a lovely touch on Evans’ “Time Remembered” and Gomez feels right at home on lyrical material such as this. The team is crisp on the driving “Herbie LIx” and gets sensuous n “El Raton” whle Dyson uses brushes like Rembrandt on “Pastels (Waltz For George).” Albanese goes solo on a gorgeously patient read of Billy Strayhorn’s “Isfahaan” and glows like a night light on “Pensativa.” A class act!
Michael Gallant keeps it interesting as he rotates between piano, melodic and the spacy nord electro 3hp keyboard along with Rob Mitzner/dr and electric bassist Dmitry Ishenko. Acoustic bassist Pepe Gonzalez pops in and out as well, making for a dynamic lower ended duo on the funky “The Real Maria” and easy feel of “Borrowed” that is enhanced by Mitzner’s brushes. The teams gets into a New Orleans groove on “City Never Seen” and there is a hint of Ahmad Jamal on the explorative “Greens.” The mix of electric and acoustic works very well here, as on the regge-ish “Follow Me” and the elastic yet palpable “Completely.” All the music here was performed “live” and there is energy bouncing off the instruments.