Home » Jazz Articles » Album Review » Dave Bass: The Trio, Vol. 3

Dave Bass: The Trio, Vol. 3

By Troy Dostert
May 1, 2023
View read count

For its third installment, pianist Dave Bass' regular working group has produced another worthwhile document drawing on Bass' many influences, and showing that he also has plenty of his own creativity to offer. Once again accompanied by bassist

Kerry Kashiwagi

bass

" data-original-title="" title="">Kerry Kashiwagi and drummer

Scott Gordon

drums
b.1960

" data-original-title="" title="">Scott Gordon, and a few cameos from guitarist

Barry Finnerty

guitar, electric
b.1951

" data-original-title="" title="">Barry Finnerty, the pianist proves his mettle as an agile and thoughtful interpreter of the jazz repertoire.

Just a few bars into the beguiling opener, "As Long as There's Music," the trio's empathetic tendencies are evident, with Gordon's subtle brushwork ushering along Bass' luscious harmonies and Kashiwagi's nimble inflections. Bass' lyricism radiates, and he refrains from overplaying, letting the melody guide his pensive reverie until the closing vamp gives him a few moments to stretch out a bit. He is just as compelling on pieces such as "Israel" and "If You Could See Me Now," both of which reveal a strong

Bill Evans

piano
1929 - 1980

" data-original-title="" title="">Bill Evans influence. He moves into a more angular mode to tackle

Thelonious Monk

piano
1917 - 1982

" data-original-title="" title="">Thelonious Monk's "Criss Cross" and "Played Twice," with a whimsicality which allows a more playful disposition to emerge. Kashiwagi's assertive walking bass on "Criss Cross" gives the pianist room to maneuver, and he takes advantage of it with a rangy solo which Gordon expertly navigates alongside him. "Played Twice" shows Bass' willingness to cede ground to his partners, as Kashiwagi gets the first opportunity for a crafty solo before Bass jumps in with his own, and Gordon is provided with some space of his own to let loose.

Unfortunately, the most intriguing cut on the album is also its briefest, as

Annette Peacock

vocals

" data-original-title="" title="">Annette Peacock's "Blood" is given an evocative three- minute treatment which is played impressionistically, without fixed meter. Kashiwagi's searching arco and Gordon's freedom from timekeeping enable Bass to venture outward, and his solo is quite imaginative. It would have been enticing to hear a bit more of the trio in this less-encumbered spirit.

Bass' own compositions are also winners. "Endless Waltz" has a poignant melody, traced with delicate grace by the pianist, and "Another Ending" is an infectious Latin-flavored piece with another strong theme. The latter also features Finnerty, who gets three tunes here. While the guitarist brings a gritty urgency to his energetic solo on "Another Ending," he is sometimes in danger of overpowering the other two pieces: both Bass' "Agenbite of Inwit" and

Astor Piazzolla

bandoneon
1921 - 1992

" data-original-title="" title="">Astor Piazzolla's "Libertango" have an edgy, almost aggressive dimension which is incompatible with the prevailing feel of the album. But, that quibble aside, Bass has created some first-rate jazz on his third trio album, and it gives us ample reason to anticipate Vol. 4.

Learn more about our star rating system

Track Listing

As Long As There's Music; Criss Cross; Endless Waltz; Agenbite Of Inwit; With A Song In My Heart; El Ciego; Israel; Blood; If You Could See Me Now; Played Twice; Libertango; Another Ending.

Personnel

Dave Bass

piano

Kerry Kashiwagi

bass

Scott Gordon

drums

Barry Finnerty

guitar, electric

Additional Instrumentation

Barry Finnerty: guitar (4, 11, 12).

Album information

Title: The Trio Vol. 3 | Year Released: 2023 | Record Label: Dave Bass Music

PREVIOUS / NEXT

Conrad Herwig: Land of Shadow
< Previous

Matt Mitchell, Anti-Rubber Brain Fac...
Next >

Dave Bass Concerts

Oct 22 Wed

Trio Nuevo 3

Twin Lotus Thai
Sacramento, CA

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.