Okonski: Entrance Music

A signature sound—whether for an individual musician or a band—comes naturally to some but remains elusive to others. It is worth its weight in gold, making the jobs of publicists, club owners, festival organizers and journalists that much easier.

Okonski, the trio of pianist Steve Okonski, bassist Michael Montgomery, and drummer Aaron Frazier, occupies a sound world that could be described as meditative jazz. The vibe is laid-back yet sunny, uncluttered yet gently grooving, accessible yet artful. That was the case on Magnolia, the trio's 2023 debut on Terry Cole's Loveland, Ohio- based label, Colemine Records. If it ain't broke...

Subtle differences distinguish the trio's debut from its sophomore release. Whereas Magnolia carried a distinctly small- hours melancholy—with Okonski's piano sounding like a vintage upright in a near-empty bar—Entrance Music is less pensive, more optimistic. Magnolia's brisk 30-minute runtime was dominated by brushes; two years later, Frazier deals more liberally in fat backbeats that lift the music from ambient to groove-based jazz. There are not many more minutes of music on Entrance Music—just two, in fact— but before anyone cries "short change," remember that John Coltrane's A Love Supreme (Impulse!, 1965) also clocked in at 32 minutes, and the complaints switchboard was not exactly working overtime back then. Less, very often, is more.

Okonski's classical training filters through in his lightness of touch. His is a refined, spare language for the most part, though the billowing, rhapsodic swells of "October"—arguably the standout track—come on like a sudden rush of wind carrying a mosaic of autumn-colored leaves. The effect is enveloping, invigorating. Such effusiveness, resurfacing briefly on "Summer Storm," is the exception rather than the norm, where slow, simple grooves harbor a collective economy. Montgomery deals in lean ostinatos and minimalist pulses, while Frazier's unerring time is as steady as a heartbeat. The bassist's lyrical intro to "Passing Through" provides a lovely moment in the spotlight, but for the most part, he serves the gentle buoyancy of the music with measured restraint.

A byline on the album cover describes the compositions as vehicles that "explore the transitions between anticipation, contemplation, and calm." Calm is perhaps the keyword here. Pretty melodies are in no short supply, while the elegant restraint, rhythmic repetition, and relative simplicity of these compositions will likely appeal to those who prefer a little less clutter and a touch more soul in their jazz.