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Your favorite "obscure" piano trio recordings


Joe

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"Obscure" just being my not wholly appropriate shorthand for recording about which you feel strongly but have never seen / heard anyone else discuss or recording you like to turn other listeners on to.

Trios of all eras, styles and constitutions welcome. Household names? Forgotten heroes? Eternal sidemen finally stepping out? Ditto old favorites and new discoveries.

An initial trio of trios:

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Don Friedman, CIRCLE WALTZ

I suppose I hear the Bill Evans connection... or is it one that is jut easy to make based on the presence here of Chuck Israels? Mostly what I hear, however, is a much hard-driving ensemble than Evans was wont to put together around this time, exploring different -- more stark, more jagged; lunar, not moony -- harmonic terrain.

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John Bikerton, SHADOW BOXES

Bickerton seems not to have much of a presence on the scene these days, and I'd be curious to hear what he is up to these days. But hat we have here is evidence of a pianist who knows his Andrew Hill without being too beholden to Hill's simultaneously contemplative and restless style.

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Amina Claudine Myers, THE CIRCLE OF TIME

Some may find her vocals (and lyrics) off-putting, and some may prefer her Bessie Smith or Marion Brown recitals, but, as this was the first Myers LP I ever heard, I have something of a sentimental attachment to it. Besides, I think it shows off the wide-ranging (fearless?) soulfulness of her playing as well as anything I've heard by her.

Looking forward to seeing what others have to contribute.

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Buster Williams Trio

Houdini

Sirocco Jazz

By Josef Woodard

Houdini (Sirocco 1014; 59:52), by Buster Williams' Trio is framed by two versions of the title tune, an alternately driving and pensive piece. The first is credited to Williams, pianist Geri Allen and drummer Lenny White, while the closing take is credited to Williams alone. That may indicate some of the porous, collective dynamic in this potent piano trio, in which Allen's playing is notably strong and imaginative, while Williams' sturdy vision shines through. It's a well-balanced song set, between standards like "If I Should Lose You" and "Little Girl Blue" (with Williams taking the melody) and Williams' originals, ranging from the lovely ballad "Bellodgia Diva" to the teasing light swing and hard-bop colors of "Ouija Board," full of the bassist's characteristic nimbleness and verve. Things get especially fiery on their version of Herbie Hancock's increasingly heated "The Sorcerer," and they veer into more ethereal terrain with Wayne Shorter's classic, dreamy ballad "Fall," with Williams' lines tumbling around the landscape like a restless dancer.

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