Label: Sunnyside Records, 2022

Personnel - Alvaro Torres: piano; Joel Illerhag: bass; Kresten Osgood: drums.

I must say I expected much more from this improvising trio led by the Spanish pianist and composer Álvaro Torres, who works with a serious pair of Scandinavian foundation builders, the Swedish bassist Joel Illerhag (inventor of the Swedish bass-harp) and the Danish drummer Kresten Osgood (Sam Rivers, John Tchicai, Michael Blake). Despite some interesting moments and the potential revealed, the ten expeditions presented here don’t take us to a place of distinction.

It all starts with a tribute to Osgood titled “Krescendo”, where the trio dabbles in nuanced conversational dynamics, foreshadowing the path they intend to take. Here, the calm remarks delivered by the pianist and the understated guidance of the bassist are opposed to the conspicuous hi-hat scintillation of the drummer. “Most” and “Taken” reflect almost a silent energy in a sort of exercise in stillness. The former develops in restraint; the latter features predominant arco bass movements punctuated by pizzicato rootness.

“Departure” reveals some ruminative uncertainty, gaining tract as it advances, whether through push-pull rhythms or melodic figures. This one shows efficiency in the proceedings, but not as much as tunes like “The Good Life”, whose melodic fragmentation and rhythmic steadfastness recall Geri Allen, and “Dreams in Music”, a profound and enigmatic solo piano reverie that feels straighter than strange. And then, there’s “Ingredient”, which has Carla Bley’s imprints scurrying and scrambling. On occasion, fluidity imposes; other times it feels choppy and concentrated.

I tried to feel the ‘heart’ but was mostly unable to relate to Torres new trio at an emotional level.

Favorite Tracks:
01 - Krescendo ►03 - The Good Life ► 10 - Dreams in Music