Teddy Pantelas Trio: Shadow Warrior

There is no denying the importance of place when it comes to a jazz musician's sound. Louis Armstrong will forever be tied to New Orleans, and Sonny Rollins to New York. The same can be said of guitarist Teddy Pantelas, whose musical voice reflects a distinctly Midwestern sensibility—stretching from Missouri to Indiana, and grounded in his Northeastern Ohio and Western Pennsylvania roots. His lineage traces through regional greats like Pittsburgh-born Joe Pass and George Benson, as well as Cleveland's Bill DeArango.

Joined by bassist Jeff Grubbs and drummer Nathan Douds, Pantelas presents nine original compositions on Shadow Warrior, an album that radiates warmth, lyricism and understated virtuosity. His tone—clean, open and inviting—often recalls Pat Metheny, especially on tracks like "Apology" and "The Real One (for Wilbur)," where he spins clear melodic lines in close dialogue with Grubbs and Douds. The result is a cohesive trio sound built on conversation rather than competition.

Pantelas' Indiana connection also shines through in the soulful nod to Wes Montgomery on "Traveling," where he conceals his technical brilliance beneath unhurried, graceful phrasing. The Metheny and Montgomery influences are clear, yet Pantelas' musical imagination reaches far beyond imitation. "Bill's Peace (for Bill Evans)" captures the introspective tranquility and quiet sophistication of the pianist's classic trios, while "Africa Tune for Gino"—a tribute to Cameroonian singer Gino Sitson—opens with an infectious rhythmic interplay between bass and drums, paving the way for Pantelas' dancing, syncopated guitar lines. "Hear the Ocean Waves" begins with a Jobim-like lilt reminiscent of "How Insensitive," before unfolding into a tender ballad all its own.

Throughout Shadow Warrior, Pantelas and his trio embody the unpretentious spirit of Midwestern jazz: soulful, grounded and generous in its communication. It is a sound built not on flash or spectacle, but on connection—between musicians, between influences and between listener and song. In the end, Shadow Warrior reminds us that regional roots can nurture a truly universal language.

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