Ellery Eskelin Trio New York: About (or On), First Visit

It might be tempted to say that Ellery Eskelin's Trio New York is deconstructing the eleven standards on the two-disc set About (or On) First Visit. But that would be a misreading. This is not a breakdown of classic material in search of alternative meanings or structural analysis. Rather, Eskelin, alongside organist Gary Versace and drummer Gerald Cleaver, channels something more elusive—what ancient philosophy once called the fifth element, or aether. Their interpretations evoke the atmospheric essence of these songs, not as fixed forms, but as fluid, evolving soundscapes.

Before the conversation turns too metaphysical, let's ground it: this is still a jazz recording, created by three deeply accomplished artists. Eskelin, raised by musical parents—his father a songwriter and his mother an organist in Baltimore—has long been recognized for his adventurous spirit. From his 1990s improvising collective Joint Venture to his acclaimed trio with Andrea Parkins and Jim Black, Eskelin has always maintained a foot in the jazz tradition while reshaping it from the inside out. He is also an esteemed collaborator in large ensembles led by Satoko Fujii and John Hollenbeck.

Gary Versace is equally versatile, switching seamlessly between piano, organ, and accordion. His work on the B3 organ defies expectations, eschewing bluesy grit for something more subtle and haunting. Gerald Cleaver, a go-to drummer for avant-garde leaders, brings deep rhythmic knowledge and a flexible touch. Recently, he's been exploring electronic textures, further broadening his musical palette.

The two discs—recorded in 2011 and 2013—were originally released on Eskelin's own Prime Source label but quickly went out of print. Now, under the guidance of ezz-thetics founder Werner X. Uehlinger, these recordings have been remastered and reissued, offering listeners a second chance to engage with the trio's deeply personal approach to the American Songbook.

Technically, this is an organ trio—but not the kind that evokes smoky lounges or greasy funk. They play standards, but not in the standard way. Eskelin's sound exists in a paradox: rooted in the past, yet unmistakably modern. His fondness for vintage instruments and early jazz repertoire coexists with an ear for abstraction and spontaneous re-invention. On this recording, the most recent composition is Cy Coleman's 1957 "Witchcraft," while the oldest is Turner Layton's "After You're Gone," dating back to 1918.

Eskelin's titles, often subtle reimaginings of the originals, reflect the interpretive nature of the music. "On (or About)...Endless," for instance, is his meditation on Irving Berlin's "How Deep Is the Ocean?" (1932). Rather than a straightforward rendition, it emerges like a fogged- over memory—delicate, elusive, and emotionally resonant. Versace's B3 organ sounds more like a meditative church instrument than a juke joint staple, and Cleaver's brushwork conjures a spectral echo of the familiar melody.

This is jazz that operates on multiple levels. For those fluent in the standards, there are subtle allusions and revelations—moments where a phrase or harmonic gesture clicks into place like a key in a lock. For others, unaware of the source material, the music offers a richly expressive experience on its own terms.

Nowhere is this duality more evident than in the group's take on two Thelonious Monk classics, "Off Minor" and "We See." The trio captures Monk's essence—not through mimicry, but through deep empathy with his compositional language. It is an act of homage without imitation, interpretation without restriction.

There is a quiet sophistication in the way the trio navigates these songs. They are hip, but never ironic. The music is thoughtful, emotionally resonant, and elegantly understated. There is no showboating here, no desire to shock or dazzle. Instead, there's a shared sense of inquiry, a willingness to let the music breathe and unfold organically.

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