Kate Williams: On The Wing Of A Dragonfly

One of the many pleasures of a piano trio is that the pianist is freed from the need to complement or integrate with other harmonic voices, breathing more expansively, leaving gaps in the texture or venturing into unexpected tonal areas. The bass also benefits from this openness: it steps into sharper relief, freed from a reinforcing role to reveal its melodic character and tonal weight.

Composer and pianist Kate Williams has a playing style ideally suited to take advantage of this openness on her album On The Wings Of A Dragonfly. Her patient, unhurried approach is reflected in her compositions; they evolve gradually and with clear purpose, supported by her trusted long-term collaborators, bassist Oli Hayhurst and drummer David Ingamells.

Williams has more often been heard in quartet, quintet, or much larger ensembles. The trio format affords her greater freedom while leaving the playing and improvisation more exposed, but she revels in the space, producing eight compositions alongside a Fats Waller cover.

The title track bookends the album. Both versions unfold gradually, spreading out from piano motifs that climb and fall. The band interplay is relaxed and assured. On the opening track this leads to a feature for Hayhurst before the trio make their way back to the main melody. The two versions are similar, but the closing track is more chilled and misses the bass solo.

Williams often uses repetitive phrases, sometimes introducing slight changes to tease out the theme. "Soon Enough" uses this structure as it builds through a fine bass solo, arriving at a swinging, flowing melody. "In Sight" follows a similar line with the pianist showing more of a Thelonious Monk influence, which develops into another compelling solo.

The one cover version, Waller's "Jitterbug Waltz," is a sheer delight. The classic tune is reinterpreted for contemporary audiences with inventive rhythmic interplay while maintaining the captivating descending keyboard line. There is more excitement on the bop-flavored "Taker's Dozen," which sounds like a classic from yesteryear, as Williams adds sparkle with her quick-witted phrasing, supported by Ingamells' brisk and bustling drumming and a terrific solo from Hayhurst.

Elsewhere, the tense atmosphere of "A Rose-Tinted Spectacle" is heightened by a gripping crescendo from Ingamells, while the delightful "Snowdrops To Wintersweet" offers seven minutes of reflective calm. Williams' compositions are meticulously crafted to draw out the strengths of her trio, their collective chemistry shifting effortlessly between improvised and composed sections. The album's trio setting, alongside the superb recording quality, allows Williams to display her radiant piano skills to compelling effect.