Tim Richards Trio

“Shapeshifting”

(33 Records 33JAZZ205)

Pianist, composer and educator Tim Richards has been a stalwart of the British jazz scene for many years. He originally came to prominence in the 1980’s as the leader of Spirit Level, a hard hitting and innovative group that at one time included the great improvising saxophonist Paul Dunmall.

Richards later worked with an expanded nine piece line-up which he dubbed Great Spirit. This group’s album second album, “Epistrophy”, featured top UK players such as Tony Kofi (saxophones) Roger Beaujolais (vibes) and the Polar Bear rhythm section of Tom Herbert (bass) and Sebastian Rochford (drums) and gained a five star review from The Jazzmann back in July 2006. I subsequently saw a version of this group give a most enjoyable live performance at Warwick Arts Centre in the autumn of that year, a show that is also reviewed elsewhere on this site.

In addition to his various “Spirit” incarnations Richards has also enjoyed working regularly as the leader of his own piano trio. “Shapeshifting” is his third trio release for 33 following “The Other Side” (1998) and “Twelve By Three” (2003). Like its predecessors “Shapeshifting” reveals Richards’ roots in and love of the blues and presents a selection of fiercely swinging standards and originals. The twelve track format mirrors that of the earlier “Twelve By Three” with bassist Dominic Howles remaining on board and with new drummer Jeff Lardner taking over from Matt Home. Lardner is an inspired choice, an experienced performer with a wealth of session and big band work behind him here he adds a healthy combination of swing, colour and invention to the music.

During the period between the release of the last Great Spirit album and the appearance of “Shapeshifting” Richards has been studying for a Masters degree in Composition and has completed his fourth book of musical tuition “Exploring Latin Piano”, a follow up to similar excursions into jazz and, of course, his beloved blues.

“Shapeshifting” sees Richards the recording artist back with a vengeance. The trio kick off with Richards’ title track, a relaxed affair with a rocky groove that alludes to the blues but without being a strict example of the form.Richards’ splendidly robust piano dances above Howles’ powerful grooves and Lardner’s neatly energetic drumming.

During the course of the album Richards pays homage to many of his piano heroes. Among these is Bud Powell on a colourful version of Powell’s “Un Poco Loco” with Lardner’s colourful, Latin flavoured percussion particularly effective. Needless to say it swings like crazy too.

“Eleventh Hour” is another Richards original, a superb combination of lyricism and groove that sees one of Richards’ most attractive melodies acting as the jumping off point for some expansive McCoy Tyner style improvising. 

Cedar Walton’s “Bolivia” is an increasingly popular vehicle for contemporary jazz musicians. The Richards Trio present it as a fast, swinging, infectious shuffle. Howles’ resolutely swinging groove drives the tune as Richards and Lardner sparkle in a series of colourful, high energy exchanges.

The more lyrical side of the trio is demonstrated on Duke Ellington’s “Prelude To A Kiss”, a tender ballad arrangement of one of the master’s most covered pieces with Howles and Lardner offering Richards suitably understated, sympathetic support.

The standard “You’re My Everything” is subjected to an enjoyably playful interpretation with Richards swinging joyously at the piano. Both Howles and Lardner are featured in bubbly cameos and the piece has an easy going charm that may well make it a live favourite.

Pianist Bobby Timmons (1935-74) died tragically young but still left behind a handful of classic compositions including the gospel drenched “This Here”. Richards pays homage to another of his piano heroes with a splendidly swinging version of Timmons’ tune that stays true to the spirit of the original. Howles adds a typically resonant and swinging solo. His contribution is excellent throughout.

Richards’ own “Seraglio” brings a more contemporary, impressionistic feel to the set. An episodic, gently expanding piece it features Howles making effective use of the bow as well as delivering a brilliant pizzicato solo. At seven minutes plus this is the lengthiest cut on the album but it’s hugely effective and often very beautiful.

Also by Richards “The Message” goes for a totally different effect. Swinging mightily and defiantly it sounds like his own attempt to write something in the gospel inspired style of Bobby Timmons. This could have come straight off an old Blue Note record and of course it just sounds great. 

Howles contribution with the pen is “Bristolian Thoroughfare” which begins beautifully in ballad style before suddenly taking sudden, swinging flight with the composer’s propulsive bass walk fuelling Richards’ exuberant flights at the piano. Howles and Lardner feature too with bright, colourful cameos before the piece concludes as quietly as it began.

Cole Porter’s “Love For Sale” is given an urgent, shuffling almost Latin flavoured arrangement that works very well and features some excellent playing from all the members of the trio. Lardner takes the instrumental honours with a dazzling and inventive drum feature. Great stuff.

The album ends with another visit to the Ellington archive, a brief but lovely performance of The Duke’s “Come Sunday” which closes this largely celebratory album on an elegiac note.

Compared to the work of many contemporary piano trios Richards’ album sounds decidedly “old school” but unapologetically so. This is the sound of a man making the music that he loves, finding fresh things to say on old standards and delivering a series of winning compositions of his own. The album swings pretty much throughout and the playing by all three protagonists is consistently excellent.

“Shapeshifting” is a less ambitious, and for me ultimately less rewarding album than the magnificent “Epistrophy” but its intentions are wholly different and it remains a thoroughly convincing and enjoyable work in its own right.

For more information, including audio samples, see
Website: http://www.timrichards.ndo.co.uk
MySpace: http://www.myspace.com/timrichards

“Shapeshifting” is available from Jazz Cds at http://www.jazzcds.co.uk

 

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