Dawn Clement: Delight

Pianist / vocalist / composer Dawn Clement has appeared on plenty of recordings, both as a sideperson and leader, but she has perhaps never quite accomplished what she has here with Delight, on the Origin Records label.

There are balances achieved with this record that fans of the long-time Seattle, now Denver-based Clement can eagerly wrap their collective arms around. Her intrepid curiosity and virtuosity have been a given in the jazz world for many years, playing with great strength and a composer's sensibility not only for melody, but for groove-smashing, highly dynamic harmony. Whether a case of her own vulnerability or a random public perception, Clement's vocals have, at the same time, carried with them a somewhat separate designation, despite being an integral part of her pure artistry. Aided by perfect pitch and a fearless poetic bent, her voice work is certainly hovering in the same stratosphere as her piano playing.

Coming together as a trio with these partners was seemingly a natural course of action, with Clement's association with drummer Matt Wilson that dates back twenty-odd years. The great bassist Buster Williams was, according to the liner notes, responsible for the album's title when he turned to Wilson at the session's last note and remarked, "Mathew, this has been a delight." Williams' presence is indeed a delight, still nimble, full of intent and swinging. Clement's artistic vision and balance, joined with the mastery of her company for this date, make this the pianist's most fulfilling recording to date.

Three of the album's nine tunes include vocals, including the highly personal original, "Forgive Me." Clement tackles the McCoy Tyner / Sammy Cahn pearl "You Taught My Heart To Sing" solo, revealing great tenderness and lyrical brilliance. As a self-accompanist on piano, her delightfully augmented harmonic support is perfectly aligned with the story being told in the lyrics. The same can be said for her trio dive into Elvis Costello's "Someone Took The Words," blending soft, yet dynamic vocals with remarkable range, accompanied by cascading, fluid pianisms.

The six instrumental selections are explorations into the inevitable unexpected, six opportunities for three prominent voices in jazz today to continue the piano trio tradition launched more than seventy-five years ago by the likes of pioneers like Bud Powell. From the opening bass line laid down by Clement and Williams on the opener, "Outstretch," the trio came together in perfect democracy for this Clement-penned powerhouse piece. Wilson's musically persuasive playing creates the cornerstone for the tune to be built one brick at a time, with Clement's hammer-like left hand lowering the boom.

With "Monk's Dream" and "Alone Together," the trio covers two classic tunes in classic style, with the leader at her spontaneous best. Williams, as he has done for sixty years in this music, has tremendous presence both as a member of the rhythm section and as a soloist. His distinctive pizzicato and broad, deep sound has a beautiful presence throughout the session. The record's most fearless musicality may be found within these two standards. Wilson's playing is always full of his joyous personality and marvelous chops.

Williams contributed his tune "Tokudo" to the proceedings, a piece that dates back to his trio with Kenny Barron and Ben Riley on an album of the same name in 1978. Naturally, the tune swings like mad, with all three members chipping in solo-wise.

Clement's "Easy E" stretches the trio open like no other piece on the record, with Wilson's agile yet prominent kit work providing an enormous canvas of maneuverability. Clement's strokes are bold, dynamic and melodically charged. She takes the listener out into uncharted territory with no promise of return, before easing to a beautifully articulated close.

Those familiar with Clement's time in Seattle, are familiar with her deep friendship with master trombonist and jazz icon, Julian Priester. As one of her chief sources of influence, the inclusion of Priester's tune, "Elmer's Holiday," is a fitting tribute. Adorned with Wilson's brushwork, the melody and variations spun around it provide a perfect statement of Clement's time spent as a teacher while she was receiving invaluable wisdom from Priester and others in Seattle during her long tenure there.

Delight is just as Williams described—an absolute delight, and a notable contribution to the specialized legacy of the jazz piano trio. In all, the album is one of the finest releases of 2025 to date.

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