Tom Teasley feat. Dave Ballou - Inner Play

June 30, 2026

Label: Self released, 2026

Personnel - Tom Tasley: drums, percussion, bass melodica, hand pan, electronics; Dave Ballou; trumpet, flugelhorn.

Remarkable chemistry, an urge to incorporate diverse musical traditions into a style of their own, and a rich narrative sense are among the defining qualities of Inner Play, the second duo outing by percussionist and cultural diplomat Tom Teasley and trumpeter Dave Ballou. The follow-up to the spectacular Lunch Break (2025), comprises twelve pieces that strike a balance with utmost grace, as Teasley—whose keen ear for texture and timbre is evident throughout—designs impactful foundations that seem to amplify Ballou’s ability to develop expressive melodic ideas with exceptional clarity and precision.

“Electric Embers” kicks off with an entrancing contemporary effect generated by the electronic A-frame drum. Teasley, channeling the bass sensibilities of Jaco Pastorius and Victor Wooten, anchors the pulse while Ballou swirls around a thematic motif, part of whose melody recalls Coltrane’s “Impressions”. “Woodpecker’s Dilemma” displays a noteworthy combination of timbres, curious rhythmic patterns, and muted trumpet chants that resonate with rapid insight. The rhythmic framework then incorporates terse cymbal pulsations as the trumpet becomes increasingly motivic and playful.

The luminous “Where the Ocean Meets the Sky” is openly spiritual and beautiful. Teasley’s mastery of the Rev Vast Drum provides harmonic context for Ballou’s deep reflections on flugelhorn. If the duo quietly transcends here, they join forces more energetically on the excitable “Elephant Dance” and “Outside Inn”, the latter becoming tense, conversational, and yet remarkably direct in its juxtaposition of Max Roach-inspired drumming and piccolo trumpet.

Eastern flavors permeate both the deeply emotional “Matador’s Lament”—another hypnotic treat—and “Memories of Muscat”, where communication becomes a universal language expressed through polyrhythmic percussion—riqq and darbuka—and unfaltering, graceful lines delivered with warmth and enthusiasm.

“Prelude and Interplay” stands out for its distinctive sound, initiated by Teasley’s bass melodica and gentle cymbal smears, which invite Ballou into an uncommon musical dance. The drum set gradually expands the sonic landscape, yet the music remains free, spontaneous, and incisively focused. “Anticipate the Good” outlines a conspicuous thematic statement within a tangible chamber-jazz setting. Its percolating rhythm is wonderful, while the brass lines fit like hand in glove, unifying everything into a cohesive whole.

With versatility and creativity, Teasley and Ballou require very little to make their improvisational journey compelling. It all sounds as natural as breathing and as good-natured as a conversation between two seasoned travelers.

Favorite Tracks:
03 - Where the Ocean Meets The Sky ► 05 - Prelude and Interplay ► 09 - Matador’s Lament

Tom Teasley featuring Dave Ballou - Lunch Break

February 13, 2025

Label: Self released, 2025

Personnel - Tom Teasley: all drums and percussion; Dave Ballou: trumpet.

Lunch Break is a creative drums-trumpet album where positive energy is felt throughout, offering a unique and harmonious confluence of sounds and timbres. The orchestrators are world-music-leaning percussionist Tom Teasley, who composed all tracks, and avant-garde jazz trumpeter Dave Ballou, whose distinctive, organic phraseology floats atop eclectic rhythmic tapestries. Having previously collaborated in a band led by drummer Jeff Cosgrove, the duo displays undeniable technical proficiency and refined musical choices throughout.

Teasley, a Virginia native, initiates much of the music. In “Tips in Baghdad” he transitions from a Mesopotamian frame drum to a drumset, drawing on memories of a tour in Iraq and a 1980s gig in New Orleans. The groove carries mysticism and certitude, while Ballou showcases remarkable clarity, moving from pristine sustained notes and ambiguous melodic phrases to incisive motivic sequences.

“Four On Six” offers mercurial groundwork, with a cyclic bembé pattern in six dissolving into a 4/4 groove, over which Ballou’s buoyant trumpet dances with joy. The duo’s strong chemistry continues to shine as various grooves unfold. “When The Wind Cries” is a tearful rubato ballad, entrancingly harmonized by the Rav Vast drum and colored by shimmering cymbals, contrasting with the poignancy of the trumpet. A similar orchestration graces “Prayer For The Ancestors”, where a deep spiritual aura results from the duo’s insightful musical input.

“For Max”, a solo percussion effort blending resonant drum timbres and metallic sparks, and “Mop Shake and Roll”, marked by foreign tinges and imaginative rhythmic verve, pay homage to legendary jazz drummer Max Roach. The duo demonstrates exceptional responsiveness in the dynamic “Rush Hour”, reacting to every intriguing stimulus. Sometimes they march, sometimes soar, and sometimes swing, navigating an avant-garde jazz direction with skill and vision. Meanwhile, “Jongo” emanates a joyful vibe, seeking light while avoiding darker corners. Teasley’s masterful percussion clears the way for Ballou’s agile, idiosyncratic trumpet explorations.

On the sprightly “Riqq Talk”, Middle Eastern flavors blend with South Indian Carnatic music. Teasley plays the Egyptian riqq (tambourine) and incorporates his voice, while Ballou interjects with muted trumpet responses. This exceptionally pleasant fusion album showcases Teasley and Ballou's deep musical connection, as their sophisticated interplay transports listeners to distant, intriguing places.

Favorite Tracks:
01- Tips in Baghdad ► 05 - Rush Hour ► 07 - Jongo

Dave Ballou & BeepHonk - The Windup

October 30, 2018

Label: Clean Feed, 2018

Personnel - Dave Ballou: trumpet; Anthony Pirog: guitar; Adam Hopkins: bass; Mike Kuhl: drums.

Trumpeter Dave Ballou has been a ubiquitous presence on the avant-jazz scene, participating in projects of likes such as bassist Mario Pavone, French hornist Tom Varner, pianist Satoko Fujii, and drummer John Hollenbeck. His second Clean Feed outing, The Windup, features a quartet that first played together in 2011 at the Windup Space in Baltimore, Maryland, where the bassist Adam Hopkins used to organize weekly concerts to promote collaboration between improvisers. Breaking the initial purpose of a one-time-only performance, the ensemble that played at that time - Ballou, Hopkins, guitarist Anthony Pirog, and drummer Mike Kuhl - reunited recently at the same place to explore Ballou originals.

“Fluffer Nutter” kicks in with trumpet and guitar asserting a phrase that keeps being suggested throughout, even after the musicians disperse their attention to focus on alternative yet still-communicative ostinatos. While Kuhl employs jittery ride cymbal, Hopkins sticks to a methodical pizzicato, completing a foundation that invites the guitarist and the trumpet player to persevere interaction. Before the peaceful ending, Pirog devises a crackling, exploratory, acid-rock-driven improvisation suffused with electronic momentum.

“BeepHonk” borrowed the title from the band’s name, taking us to a ruminative 15-minute journey initiated by bass alone. Hopkins’ thumping pizzicato is followed closely by the drummer and ultimately drizzled with bird-like electronic noises and curt remarks of a muted trumpet. At some point, the music earns a strong chamber feel that couldn’t be held out due to the uncanny synth vibes created by Pirog, a true specialist in digital manipulation.

Lasting for more than 26 minutes, the final piece, “Nice Spot - Another Fool” recuperates that chamber aura that places the band somewhere between fragility and sturdiness. By giving the rhythm a bit more profundity, the band designates Pirog as its catalyzer, and he responds by whether intensifying texture or pacifying the waters with the use of relaxed harmonic sequences. Serene passages, adorned with homespun electronic effects and mysterious dark drones, alternate with inharmonic gravitational spins. The last five minutes are marked by a rhythmic effervescence, promptly roughened by distorted guitar.

This is a rewarding effort from Ballou and his peers, who knew how to stuff the inventive structures with enjoyable musical moments.