By K.D. Norris
From the time of Art Tatum, though the years Oscar Peterson led what some consider the perfect jazz trio (with Ray Brown on bass and Ed Thigpen on the sticks), into the modern jazz era with the likes of Brad Mehldau, there are many different instrumentations used in “a jazz trio” but when people think of “the jazz trio” you know what they are talking about.
The piano-bass-drum jazz trio is, with little argument, the quintessential jazz group.
Back in 1996, pianist Mehldau released the first of a series of recordings titled “The Art of the Trio” — a recognition of the historic and continuing perfection of the piano-bass-drums jazz combo by a multi-Grammy nominated performer who’s career has never strayed far from the format.
And while a Nov. 30 visit to St. Cecilia Music Center’s Jazz Series by Mehldau’s latest trio may well be a must-see concert this year — a concert where he will undoubtedly continue to prove the adage — there are local jazz performers bouncing around Grand Rapids music scene that also offer proof just about every night of the week.
“Most of the great jazz pianists going back to the mid-1940s have performed and recorded in this format, so each succeeding generation of young musicians has been exposed to, and influenced by, these artifacts,” said Steve Talaga, a pianist with a long history in the area jazz scene and currently an adjunct professor of music at Hope College.
“This trio format is also a situation which offers a perfect blend of interaction and freedom. You have multiple musicians contributing musical ideas to the ‘stew,’ but not so many that things get muddled,” he said. “Once drums are paired with piano, the bass range can sound a little weak, so adding a string bass reinforces the low register, creating a perfect musical scenario.”
Robin Connell, also a local pianist and music instructor, likens the musical range of the piano jazz trio as being a “group discussion.”
“In terms jazz as an art form, the best jazz trios musically interact continuously so that their performance can be likened to listening to a group discussion,” she said. “Just as in listening to three people talking together, conversation can flow easily and equally and be heard by listeners. Larger groups rely either on more written music — less improvisation, taking turns improvising, or music that is simple harmonically.”
But jazz people will tell you that not only is the piano jazz trio a jazz club mainstay for musical reasons, there are also logistical and economic reasons as well.
Economics “enter the picture, although not as much for established artists of international stature,” Connell said. “Very few places anywhere in the U.S. pay a living wage for live music unless the venue is booking ‘name’ artists. This is true for jazz as it is for all other live music. I imagine the history of the jazz trio includes that reality and certain combinations, such as piano/bass/drums, became standard.”
Talaga agrees, but knows economics has never overshadowed the music.
“Economics do play a role, of course. More so all the time,” Talaga said. “With this combination, you have a complete ensemble capable of creating the most exciting music, but the paycheck only has to be split three ways.”
But “for me, the piano/bass/drums format is the dream band, both in terms of listening and performing. If you get the right combination of inventive, sensitive, and capable musicians, it’s pure magic.”
And most local jazz lovers are expecting magic with Mehldau’s return visit to St. Cecilia Music Center as part of the center’s Encore Jazz Season, celebrating over ten years of some of the finest jazz musicians in the world playing the venue.
“The jazz trio format is the classic format for a jazz combo — but what’s so interesting about all jazz programming is that, even if the instruments are the same in two groups, two shows are usually never alike in the hands of consummate musicians,” said Cathy Holbrook, executive director of St. Cecilia Music Center.
“We’ve had the piano/bass/drum trio at St. Cecilia Music Center many times over the past ten years, but the musician leading the group can take it in many different directions,” she said. “When Brad Mehldau brings his trio, we will hear a night of improvisation vs. jazz standards — they may start out with a standard but it goes into their imagination and comes back out again.”
For those with only a casual relationship with the jazz trio, but looking for a deeper dive, an essential acquisition would be the Oscar Peterson Trio’s 1963 recording “Night Train”, the Ahmad Jamahl Trio’s 1958 recording “But Not For Me – At The Pershing” and/or Mehldau’s “The Art of the Trio” series, re-packaged and re-released as a 5-Disc box set by Nonesuch in 2011. And you probably have to look no farther than Grandville’s The Corner Record Shop for any of them.
For more information and tickets for Brad Mehldau, visit scmc-online.org
The Steve Talaga Roots of Jazz Trio, among other gigs, will play at the 18th Amendment in Muskegon, Dec. 23 from 8-11 p.m. Visit his website at stevetalaga.com .
Robin Connell, among other gigs, will be playing in trio format at One Trick Pony in Grand Rapids, Jan, 11 from 8-11p.m. Visit her website at robinconnell.com .
For more information on local jazz available, visit wmichjazz.org .
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