ALEXANDER BRYSON TRIO
Hard Bop Records HBR33013
Alexander Bryson (piano); Jeremy Brown (double bass); Matt Fishwick (drums)
Recorded August 1st & September 20th, 2019
From the very first notes it is apparent that this record is quite special. Straightaway one is taken back to the great piano trios of the forties and fifties, not just in terms of repertoire but also stylistically. This is not to imply in any way that this a retro reworking of the familiar, but quite the opposite. If the style unmistakably draws from jazz greats such as Errol Garner, Bud Powell and Phineas Newborn, then it is done not just with reverence but also a deeply rooted knowledge of how to extract the most from the material and also to sound very much of, and in, the moment.
If like me, you have not come across Alexander Bryson before then you are in for a treat. Bryson's technical ability is clear to hear, but what marks him out as a talent to watch is his understanding of the music. This is a young man who is not paying lip service, but who has steeped himself in the style that most interests him and found a way to communicate this in a way that is both fresh, but also bringing something uniquely his own to proceedings using a language that is well established but never short of new things to say.
If much of Bryson's formal education had been in studying classical music, his musical tastes have always been far broader taking in his father's large record collection that found the pianist listening to jazz, blues and rock. His early interest in jazz came from listening to Count Basie and Fats Waller, and this love and knowledge of earlier styles of the music seep through into his playing, as heard in a lovely reading of Neal Hefti's 'Li'l Darlin'' that was featured The Atomic Mr Basie that closes the set. This delicacy of touch and way with a ballad is also heard to fine effect on 'You're Mine, You' from the pens of Eddie Heywood and Johnny Green who also wrote 'Body And Soul'; while the intricacies of timing and phrasing are quite spectacular in a breath taking 'In The Still Of The Night' with its fast double tempo and fleet right hand lines in Bryson's solo.
The straight ahead swingers are taken care off with an exciting take on Lee Morgan's 'Mogie' from the trumpeter's Here's Lee Morgan album, with a fine solo from bassist Jeremy Brown. The bassist is again to heard to fine effect, in tandem with drummer Matt Fishwick on 'Con Alma' by Dizzy Gillespie. The support given to the pianist on this number in stating the theme is rock solid before the trio launch into swing feel for Bryson's solo.
The funky side of things is dealt with on the delightful 'Chicken An' Dumplin's' by Ray Bryant with Bryson's casually laid piano on the opening statement before once again easing into a relaxed swing. Full of invention, the pianist seems to have plenty of time to lay out his solo that belies the tempo, and contributes to the unhurried feeling of the performance. Not one to shy away from a relaxed groove, Bryson takes 'After Hours' at a much slower tempo than the original slow-medium tempo and still manages to inject enough of his own personality into the piece without losing sight of fellow pianist, and composer, Avery Parrish's intentions when played by Erskine Hawkins band in 1940.
This is an extremely accomplished debut from a pianist whose acknowledgement of the past has enabled him to bring a fresh take on some wonderful tunes. In doing so Alexander Bryson demonstrates that rather then racing ahead to the next new thing there are still lessons to be learned and much fine music to be gleaned from the past masters.
Reviewed by Nick Lea
Hard Bop Records HBR33013
Alexander Bryson (piano); Jeremy Brown (double bass); Matt Fishwick (drums)
Recorded August 1st & September 20th, 2019
From the very first notes it is apparent that this record is quite special. Straightaway one is taken back to the great piano trios of the forties and fifties, not just in terms of repertoire but also stylistically. This is not to imply in any way that this a retro reworking of the familiar, but quite the opposite. If the style unmistakably draws from jazz greats such as Errol Garner, Bud Powell and Phineas Newborn, then it is done not just with reverence but also a deeply rooted knowledge of how to extract the most from the material and also to sound very much of, and in, the moment.
If like me, you have not come across Alexander Bryson before then you are in for a treat. Bryson's technical ability is clear to hear, but what marks him out as a talent to watch is his understanding of the music. This is a young man who is not paying lip service, but who has steeped himself in the style that most interests him and found a way to communicate this in a way that is both fresh, but also bringing something uniquely his own to proceedings using a language that is well established but never short of new things to say.
If much of Bryson's formal education had been in studying classical music, his musical tastes have always been far broader taking in his father's large record collection that found the pianist listening to jazz, blues and rock. His early interest in jazz came from listening to Count Basie and Fats Waller, and this love and knowledge of earlier styles of the music seep through into his playing, as heard in a lovely reading of Neal Hefti's 'Li'l Darlin'' that was featured The Atomic Mr Basie that closes the set. This delicacy of touch and way with a ballad is also heard to fine effect on 'You're Mine, You' from the pens of Eddie Heywood and Johnny Green who also wrote 'Body And Soul'; while the intricacies of timing and phrasing are quite spectacular in a breath taking 'In The Still Of The Night' with its fast double tempo and fleet right hand lines in Bryson's solo.
The straight ahead swingers are taken care off with an exciting take on Lee Morgan's 'Mogie' from the trumpeter's Here's Lee Morgan album, with a fine solo from bassist Jeremy Brown. The bassist is again to heard to fine effect, in tandem with drummer Matt Fishwick on 'Con Alma' by Dizzy Gillespie. The support given to the pianist on this number in stating the theme is rock solid before the trio launch into swing feel for Bryson's solo.
The funky side of things is dealt with on the delightful 'Chicken An' Dumplin's' by Ray Bryant with Bryson's casually laid piano on the opening statement before once again easing into a relaxed swing. Full of invention, the pianist seems to have plenty of time to lay out his solo that belies the tempo, and contributes to the unhurried feeling of the performance. Not one to shy away from a relaxed groove, Bryson takes 'After Hours' at a much slower tempo than the original slow-medium tempo and still manages to inject enough of his own personality into the piece without losing sight of fellow pianist, and composer, Avery Parrish's intentions when played by Erskine Hawkins band in 1940.
This is an extremely accomplished debut from a pianist whose acknowledgement of the past has enabled him to bring a fresh take on some wonderful tunes. In doing so Alexander Bryson demonstrates that rather then racing ahead to the next new thing there are still lessons to be learned and much fine music to be gleaned from the past masters.
Reviewed by Nick Lea
