Tim Richards Trio: Four Aces

Tim Richards has been plying his trade as a jazz pianist since 1982. In that time, he has been the guiding force behind numerous group projects: Spirit Level, Great Spirit, Hextet and his own trio. Followers of his recordings have had to exercise considerable patience—his last release was 2015's Telegraph Hill (33jazz), and his last trio recording stretches back even further to 2010's Shapeshifting (33jazz). Fortunately, the wait is over: he returns with his fourth trio recording, Four Aces.

Joined by bassist Alex Keen and drummer Daniel Howard, the Tim Richards Trio deliver their brand of Brazilian and Afro-Cuban rhythms with the instinctive interplay heightened from their three-year residency at the Old Library Bar in New Cross, London. They explore five Richards originals alongside inventive versions of seven well-chosen covers.

The title track, the first of Richards' originals, combines his rolling melody, perhaps with a nod to McCoy Tyner, with a lively, rhythmic groove in a commanding opening to the album. The group's obvious rapport continues with "Metaphysics," with Keen's bass a highlight as he weaves melodic lines between flowing piano phrases.

Richards' fondness for Brazilian rhythms comes to the fore in "Pandeiro," presumably named after the hand-held frame drum often used in sambas, with Howard's drum solo fitting naturally into the track. His compositions are completed by the bright, calypso feel of "Island Hopping" and the excellent "New Cross Blues," with its swaying, vintage feel, complemented by sparkling piano and Keen's bass solo.

Richards' compositions sit naturally amongst the covers. Among these is an inventive rendition of Tyner's "Atlantis," with a strong and lively rhythmic arrangement supporting uplifting piano to make the track an unrelenting earworm. "Free Spirits," composed by Mary Lou Williams, is urged forward by driving drums and anchored by a terrific bass ostinato, which allows Richards to take flight with some exhilarating soloing.

Whilst vibrant tempos abound, the pace slows for Kenny Barron's ballad "Sunshower." Keen and Howard are models of rhythmic subtlety as Richards brings out the melody with a superb solo. Another highlight is provided by the delightful interplay on Hampton Hawes' "Sonora." Elsewhere, the band explore "Solar," "Lover Man" and Antonio Carlos Jobim's "Wave."

Richards' playing is assured throughout, genuinely swinging with a warm and soulful approach. He seems to have found an ideal medium for expression: Keen and Howard offer vibrant rhythms, often coupled with a less-is-more approach that allows the compositions to shine. The trio combine the classic with the contemporary and are clearly enjoying themselves throughout this unassuming album, which engages from the start and consistently hits the spot.

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