Tony Tixier: Poems Never End

Serendipity is the art of everything being in the right place at the right time, and so it proved for Tony Tixier on a whirlwind trip to New York City. Recorded during a single afternoon and without a predetermined plan for the session, the album Poems Never End was recorded in one take, with nothing added, taken away, or otherwise embellished in post-production.

Frenchman Tixier is a highly versatile pianist who has worked in most small group formats and larger projects. He has also collaborated with artists such as Gregory Porter, Logan Richardson and Wallace Roney. He forms a trio with his long-term associate Joe Martin on bass and drummer Jongkuk Kim, along with guest musicians joining on two of the 11 tracks.

The opening track, "Child Mind," is short and exploratory as the trio explores the possibilities of the studio in a carefree manner. Yet even in its brevity, the track hints at Tixier's creative touch. Anchored by Martin's bass, those fluid lines expand more fully from an attractive melodic foundation in "Magic." An album highlight is "Heart Is Lost," a tender, song-like ballad where resonant bass and melancholy piano gently weave together.

"Present" offers a change of pace with its straight-ahead swing, showcasing Tixier's improvisational agility and Martin's driving bass lines and solo work. Alto saxophonist Logan Richardson and tenor saxophonist Seamus Blake join the trio for "Poem for the Oppressed," channeling their shared passion into searching runs. The other guest appearance comes from percussionist Mino Cinelu on "Tropical Blues." The peppy rhythms shimmer as a homage to the tune's composer, the Beguine pianist Alain Jean-Marie, whose Martinique heritage is shared by Tixier and Cinelu.

Other album highlights include a bright and playful version of Thelonious Monk's "Work." The theme continues with "Chocolate Travels Slowly" with some fine piano and bass combinations. The Keith Jarrett-influenced "Pardon My Church" has a gospel feel, drawing on Tixier's brief stint as a church organist. Kim's drums provide creative support.

Across the 43-minute runtime, Tixier delights with his fluid runs and unexpected turns; he lets in plenty of space, and the album consistently engages with spontaneous trio interaction. "I'm delighted with the unity on this album," he says. "I like to think of each track as a chapter in the book, all working together to tell the story." There is certainly a sense of a band capturing the magic of the moment and enjoying themselves in the process—and all achieved in the course of one afternoon.

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