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