The presence of Gary Peacock and Paul Motian in a piano trio reminds the greybeards among us of two such groups in which Peacock and Motian were likewise paired during 1962-63, led respectively by Bill Evans and Paul Bley. Even with half a century's hindsight, it's hard to say which was more important. The Evans template has been adopted by countless young musicians, and continues to cast a powerful spell. But, as producer Michael Cuscuna observes, Bley's less-heralded trio during this period "had a profound influence on Steve Kuhn, Keith Jarrett and the ECM sound." For his part, pianist Marc Copland inherited the best genes from both the Evans and Bley lineages. In his rich chording, Copland nods to Evans, whereas Marc's adventurism follows Bley's trailblazing. But Copland is more than the sum of his influences. This is a pianist with a probingly original mind, as shown by his glimmering composition "River's Run," full of interesting twists and turns yet flowing as incessantly onward as the jazz piano trio tradition itself—which Marc Copland continues to enrich with each new release.
January 25, 2008 · 0 commentsTags: river's run
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