VdGG Trio finds its groove
342044
Immediately upon learning of its release, I bought this album sight unseen and have not been disappointed. Simply put, Trisector finds the VdGG trio in its element: sounding solidly more like VdGG than PH solo; delivering more rocking energy than calculated precision. Here are my first takes on the songs:

The Hurlyburly - an instrumental to warm up the players, it builds into a rocking beat with a thundering drum + surfy guitar chorus.

Interference Patterns - gothic organ, pensive hesitation, jagged time signatures, frantic chorus; break and repeat. Has all the ingredients for a 15-minute VdGG epic, yet stops at 4 minutes.

The Final Reel - beautifully serene, with thought provoking lyrics that can be equally interpreted as sad or uplifting; does what classic VdGG does best, setting a devastating story to beautiful music.

Lifetime - a beautiful song that remains in limbo until the end, then is gone, like drifting into a dream between songs.

Drop Dead - a real rocker, fires on all cylinders. Listen to the drum blasts at 0:37 and 3:45. More Guy Evans please!

Only In A Whisper - organic intro, like we're hearing VdGG live in the studio. A moody beginning, employing a great palette of sounds, builds very strongly before trailing off. Could easily have built to a rocking pace and carried on for another 4 minutes.

All That Before - VdGG in hit single mode; darkly humorous and warmly frantic, while truly heavy. Naturally excellent chord progressions, jaunty time signatures and great riffs abound. Right up there with the classic VdGG and PH pieces, and along with Only In A Whisper, sure to be a fan favorite. No matter your age, we can all relate to this one. Did I say classic? Yes, I did.

Over The Hill - a weighty, contemplative look at life and relationships, with a beautiful organ and drum intro giving way to a hectic jarring sequence before taking off for classic VdGG territory circa Pawn Hearts, ebbing and flowing from calm to storm the way only VdGG does so well. Over The Hill is the Childlike Faith In Childhood's End of this album.

(We Are) Not Here - a shaking, moving piece full of varied sounds. Let's hope VdGG are here for at least a few more albums like this one.
3429997
The trio that comprises Kiln carefully construct a sonic pallet that woos the mind. Royal Peppermint Forest (one of my favorite songs by them) is a warm and proper introduction to one of the best ep's electronic music has to offer. Ghost (another favorite) is aptly titled  with it's wonky tapping percussion and haunting synth that floats in and out of the song. Honestly, the first two tracks would be enough to satisfy me despite my ADD behavior when it comes to music.. That isn't to say that the last three songs aren't amazing as well. Words just are not going to convey the creativity and soul behind these songs, just listen. Everything is here, hip-hop, glitch, jazz, post-rock... you just have to find it. I recommend any Kiln release, but Sunbox is a must.
777804
Great fusion/rock/jazz! Phil Keaggy and the trio have great chops. Even better than the first trio outing under the name The Phil Keaggy Trio. Highly recommended. Fun to listen to.
2106664
The Three Sounds were a fairly popular piano trio in the late '50's and '60's, operating in the same general area as Red Garland, Oscar Peterson or Ramsey Lewis. They were tight, straight-ahead, nothing particular challenging, but very tasteful and swinging. Their repertoire was mostly standards and bluesy originals. Pianist Gene Harris was the real deal, and enjoyed a bit of a resurgence later in his life, with his strong, two-handed style. This is a nice sampling of the group, including a couple of albums that are hard to find.  The Lou Donaldson and Anita O'Day sides add variety.  Already had some of the material, but at this price, a no-brainer. If you aren't familiar with the group, and you're a fan of this type of jazz, this would be an excellent place tho start.
1053883
Keith Jarrett is known for his musical brilliance and genius, which can be heard and all his recordings. But what is more, you get the geniuses of Gary Peacock and Jack DeJohnette in addition when hearing the Standards Trio. The first tune, "Bemsha Swing" is a Monk tune which Jarrett performs in a personal way. Then a bit slower tune "Old Folks", and an up-tempo "Woody'n You". The song after that, "Blame It On My Youth" is probably the most beautiful song on this album. It is also appropiately placed, just after a fast song. After the next two songs, "Golden Earrings" and "Body and Soul", comes the title track "The Cure", a different and more free song than the standards. I don't know if it's improvised at the spot, but it almost sounds like it. Some may find it boring, but listening to it more than a couple of times, it's actually not that bad. The final song, "Things Ain't What They Used To Be", the trio can give all they have left in them.
The sound quality isn't the best, but it certainly isn't very poor either. It has a special live atmosphere to it. It isn't the best Standards Trio release in my opinion, but if you have heard some of the better ones and need some more, then this album is surely worth your money.
128826
These guys are great.  A nice groove that is at times prog, at others jazz... sometimes silly with the occasional crazy sound-bite.  It's obvious that these 3 lads are masters of their instruments and have much to say with them.  It's not often that music makes you simultaneously want to shake your ass and scratch your beard.
4752622
What an amazing accomplishment for such a young trio. Glad to see that their careers have steadily moved forward. I hope they gift us with their work for a long time.
1392460
As of this album, at least one of the singers in this band has finally become a proper diva.  In the good sense!  The lead vocals are consistently very strong (whereas on past albums one can hear the singers still building confidence and finding their way, albeit beautifully), and the wonderful tapdancing etc. energy and background eclecticism are still around as always.  But now the group as a whole, too, has made a transition:  Their songwriting has caught up to, and even surpassed, their emotional presence.  The songs "Cacophony", "Chandelier Lake", and "Falling Without Knowing" are just masterpieces.  Such rich harmonies!

That emotional presence, the star of their prior album Bottoms of Barrels, has suffered a bit--some of the songs on this album trade in the old, romantic earnestness for a sort of disinterested bitchiness that is rather less special.  But this new feeling is delivered playfully enough that it doesn't offend (not this listener, anyway).  In fact in the closing song it's whipped into a crackle of electricity, glorious and brief.

Also, my copy came with a "Shrinky Dink"-type insert as its one-of-a-kind handmade artwork or whatever.  This object is useless and has little to do with the music, but I found it adorable.  :)
1608217
Pandora brought the title track from this album up for me.  One listen was enough for me to take a chance on the whole album.

I'm not disappointed so far, but I need to give it a few more listens before I write something more definitive.

These guys have a really original sound that I like.  It's a modern organ trio with sax on top.  They really communicate and it's never "jazz by numbers."  The writing is beautiful and the use of the organ/guitar combo really makes the original harmony come alive.  I'd really love to talk to the leader about his compositional process and see these guys rehearse to understand how they do what they do.

For those who prefer references to known names, imagine Michael Brecker/Joe Lavano meets John Ambercrombie Trio/Pat Metheny Trio meets Brian Blade Fellowship.

I suggest downloading the title track.  If you like it, go for the whole enchilada.
2784774
Packed with soaring trio solos, enthralling artistry, passionate artistry and classy
  melodic trio sounds, The Pat Bianchi Trio gave another enduring hit with `3-Osity, a
  organ trio date that also ranks along with his finest and beloved albums.  Released
  in 2005, his trio (known as Tri-Ocity from 2000 to 2006) showcased an atmospheric
  hit that gave jazz fans and growing legions of admirers a highly sophisticated piece
  of music making where it features brilliant guitar solos from the band's guitarist and
  timeless beauty which is both exhilarating and relaxing for the senses.  Starting off
  with his version of McCoy Tyner's Inception, the track set then serve up a fresh set
  of original compositions like the beautifully-crafted Snow Interlude  (Quiet After The
  Storm), the electrifying hit Scufflin, Dienda, Off Shore and Second String, where he
  showcases his composing skills a step even further. Plus, Bianchi performs superb
  takes on classic standards such as Jimi Hendrix' The Wind Cries Mary, The Whole
  Thing, Steve Allen's This Could Be The Start Of Something Big, and even Joanne
  Brackeen's Trinkle Trinkle, which he and his Tri-Ocity played with equally satisfying
  results. There's plenty of excellent organ trio virtuosity to look up to on `3-Osity that
  this trio have to offer as they became part of a generation of jazz organists to move
  past the boundaries of the Hammond B-3 organ repertoire as they give us a joyous
  and fun listening experience that will always remain as timeless as ever.
576503
This album marks the turning point for the band when their record sales began to decline. The overall sound is definitely more commercial than the previous three albums, but in my opinion these songs are very well written and sound very inspired. There are plenty of guitar harmonies, 3 and 4-part vocal harmonies, slide guitars, pedal steel, and with the addition of David Dix as 2nd percussionist, there are some sweet congas and interesting beats on here. If you like the first three albums, this one is worth checking out too. It happens to be one of my personal favorites.
495722
Sangam is a beautiful trio release featuring Lloyd on sax, flutes, piano, etc, Zakir Hussain on tabla and percussion, and Eric Harland on drums, percussion, and piano. This album was recorded live in memory of Lloyd's late friend and musician Billy Higgins. As always, the sound engineering is immaculate (this is on ECM, after all). Beautiful playing by all three. Highly recommended.
4960737
Debut CD by an energetic trio with Acadian influences combines fiddle, bass, accordian, acoustic guitar, spoons and bones, with a clever addition of backbeat from step dancing. Even vocals and smooth harmonies, all in  French, draw the listener to the emotion behind the music and story lines.  In the tradition of other Celtic World music, the dynamic sounds and beat  translate in any language to true "joie de vivre" regardless of  the listener's primary language.
4340421
This is a 'two-fer' of the third and fourth album from this group that was a branch off of The Nice et.al. The first recording (King Progress) was so distant from anything The Nice did that it did not sell well. The second (Fifth Ave. Bus, I believe) was never released in the states that I know of, and Ragumuffin's Fool was released here as just "Jackson Heights" on Verve. This is how I first heard it and I was quite impressed with the recording. Mr. Jackson was never known for his vocals (no offense intended), and here he had two singers with good vocal abilites and their harmonies were good together. They were a keyboard oriented group (guitar is here, but not a lot), and it was one of the first recordings where I heard Mellotron really integrated into the sound textures without being overpowering. The two new people John McBurnie (Vox, guitar, keys) and Brian Chatton (vox, keys) created some good songs (Maureeen, Oh You Beauty, As She Starts) and some 'music hall type' songs (Ragamuffins Fool, Poor Peter, Chips and Chicken, Bellyfull of Water), along with one Nice song (Chorale-Five Bridges Suite) that sounds better to me than the original Nice version. Combine this with Michael Giles drumming on most of the tracks, and they got a pretty good recording. If sounds to me like a cross between Barcley James Harvest, choral influenced harmonies, and some of the Nice, with some pop sensibilities.
Bump 'n' Grind was not released in the states, but I was able to get a vinyl copy years ago, and it is nice, but does not have as strong of songs as RF. Giles is on board on drums again, which is always a welcome addition. They seem to be gelling more as a group, but not expanding on their sound. I Could Be Your Orchestra, Public Romance and Ladies in the Chorus are nice, and I think the way this recording is perceived is reflected in the album notes. All the credits listed are for RF, none for B 'n' G. The inside notes do not give any worthwhile information. I know that all of these members have gone on to do more recordings in the late 70's and 80's, but no mention of these. I waited for a long time to replace my vinyl copy of RF, and I am pleased with the transfer. I hope you will enjoy it too.
4430220
A fine major labor debut from this organ-based trio that recalls the heyday of 70's soul/funk-jazz. The grooves are fresh and inventive, but not too quirky. The playing is simple and solid; throughout, the band concentrates on space and the pocket rather than chops. More than other groove bands like Medeski, et al. that sometimes get lost in artsy, spaced-out pretensions, Soulive keeps it at home, never losing sight of the soulful and funky aspects of the genre.  The excellent mixing enhances the band's tight, crisp sound.
1138820
"Look Around" was the third album from Sergio Mendes and Brasil '66, but in many ways in marked the beginning of a new direction for the group.  Unlike the first two albums which stressed the musical talents of only the group members, with a few excellent side musicians, such as John Pisano on guitar on the Equinox album, "Look Around" uses strings on many of the songs.  The group sound is still very present with all the exuberant bossa nova rythms and Mendes' brilliant keyboard work, not to mention the heavenly vocals from Lani Hall and Janis Hansen.  However, after all these years, some of the orchestrations tend to sound dated, while the more simple arrangements of the first 2 albums seem to be timelessly fresh.  Still this is an excellent album and a must for fans of adult oriented music.  Two notes.  Fist, contrary to popular belief, Lani Hall did not sing the lead on "Look of Love" although her voice is very clearly present in the choruses.  Janis Hansen did the lead on that song, which was rather bittersweet in a way because it turned out to be the very last thing she did before leaving the group.  In fact, my second note is when the group's next album, "Fool on the Hill" came out, almost the entire original group lineup was gone.  Only Mendes and Lani Hall remained, all of the other original members had been replaced.  Janis Hansen was replaced by Karen Phillip, who remained with the group until 1972.  I have never read an explanation as to why the group changed so radically.  If anyone knows what happened, I would really like to know.
1717743
Groovelily is a fantastic group who takes chances and this album is a win.&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/GROOVELILY-A-LITTLE-MIDSUMMER-S-NIGHT-MUSIC/dp/B000NJLLW4/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">GROOVELILY/A LITTLE MIDSUMMER'S NIGHT MUSIC</a>&nbsp;makes me feel like I am watching the show.  I love the layered textures and the wonderful musicality of the pieces.  As usual, the vocals and the violin soar.

I have enjoyed most of Groovelily's efforts, but this one stays in the player.  I hope to actually see it on stage someday.