Leader James Hill plays piano and keyboard in a trio format with electric bassist Rich Brown and drummer Ian Wright. Hints of an influence from The Bad Plus are detected on the stop and start concept of the title piece and the intricate work on “Skeletons”, but the difference here is the rich improvisational work by Brown and the addition of synthy motifs. Pretty soundscapes mixing classical piano and Tomita like atmospheres make for rich ideas on “The Silent Cry” with some soul grooves on keys and the rhythm team on “Tundra”. Windswept tone along with pastoral themes make up “Sailing by Night” with a dash of Walter/Wendy Carlos getting electronic on “Blue Rainbow”. Ideas of Kraftwerk on a new autobahn.
Pianist and composer Laura Driscoll teams up with drummer Dave Laing and bassist Paul Rushka for a combination of her own material and creative interpretations of jazz standards. Her warm touch is presented in solo form on a spacious read of Billy Strayhorn’s “Isfahan” while she shows she can flex her muscles on the funky read of “O Morro Na Tem Fez”. Laing rumbles underneath a suave minor mood of “Just One Of Those Things” with the team in a lyrical mode on “Autumn in New York”. Her own material includes a pretty “Mamy Adieu” and a three part “Forgiving” suite that goes from dark currents to pastoral reflections. Shades of blue and green.
Denver-based pianist Eric Lilley creates a mile high trio with bassist Mark Diamond and drummer Paul Romaine on this collection of creative originals. Lilley’s got a confident touch, and he knows how to swing, demonstrating a nice pulse on the bouncy “Luck of the Draw” and the bopper “Burnt Ribs” that has everyone dig in deep. The team shows alacrity on the clever waltz “Tournesol” and the tricky “Twirler” that mixes a dash of Monk with post modern musings. Lilley shows his more sensitive side on the gorgeous “Zooey” that has simpatico support and interplay throughout. Any trips to the West Coast?