The latest release on the newly formed Loop Records features a trio led by young pianist Ivo Neame.

The label provides a recording outlet for the young musicians of the North London based Loop Collective. The musicians in the Collective are beginning to make a big impression on the UK jazz scene.

Neame is particularly active; appearing on keyboards in several of the bands to be found under the Collective’s umbrella, such as trumpeter Rory Simmons’ Quartet. He also backed singer Kaz Simmons on her recent album “Different Smile”.

Neame is a seriously talented multi instrumentalist. He appears on alto saxophone with Gemini, the band led by vibist Jim Hart. Gemini’s album “Emergence” was the Loop label’s debut release. Neame’s playing on alto is a major factor in that album’s success.

For his own record Neame concentrates on the keyboard and leads a relatively orthodox piano trio. Joining the pianist are rising bass star Phil Donkin and a name previously unfamiliar to me, drummer George Hart.

The programme consists of six Neame originals plus “Beatrice” by saxophonist Sam Rivers and “Miyako” by another reedman, the great Wayne Shorter.

Neame’s own compositions are attractive enough if not particularly memorable. The opening “Elves Dance” is suitably light and nimble, almost with a bossa feel at times. Neame shows a lightness of touch at the keyboard and Donkin is inventive throughout, soloing briefly but imaginatively. Hart is a neat and energetic figure at the drums.

“Constant Change” is more reflective in tone and allows Neame to demonstrate the more lyrical side of his playing. Donkin and Hart offer sympathetic support.

Rivers’ “Beatrice” is full of slippery bebop inspired piano lines, all superbly shadowed by Donkin’s fluid but muscular bass. Donkin is later granted some space for an excellent solo and there are some energetic drum breaks from Hart. However he seems to be buried too far back in the mix for these to have the maximum effect.

“Still There” brings about another change of mood. Wistful and melancholy the tune features the wordless vocals of Brigitte Beraha .I would surmise that Norma Winstone and John Taylor were influences here.

The mid tempo “Colour Study” is a good example of the interplay between the musicians with its serpentine keyboard patterns and rhythmic complexities. Donkin again features strongly as a soloist. He is rightly given several opportunities to shine over the course of the album.

The title track is in similar vein and more than lives up to it’s name as it takes in a number of variations of mood and pace. Although he doesn’t go in for deconstructing standards or pop songs Neame’s analytical style is sometimes reminiscent of the explorations of Brad Mehldau.

Shorter’s “Miyako” is the strongest tune on the record and Neame’s elegant interpretation serves it well.

If much of the music thus far has been in the “chamber jazz” vein the closing “Scarred Landscape” attempts something more vigorous. Based around an insistent piano motif the piece nods in the direction of the Neil Cowley Trio. Hart’s drumming here is his most aggressive playing on the record. Neame loves his contrasts however, and a slower central section is a feature for Donkin.

“Swirls And Eddies” is a respectable debut. There are plenty of interesting musical ideas here but none of the original tunes are strong enough to make the album stand out from the crowd. Let’s face it there are a lot of piano trios around.

Neame’s album doesn’t quite have the impact of the other two Loop releases namely “Emergence” and “Organic Warfare” by bassist Jasper Hoiby’s band Phronesis.

Nonetheless Neame is very young and very talented and there will be much more to come from him.

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