The Pocket Trio: Something Borrowed, Something Blue

A studio album featuring jazz vocals needs something extra to stand out in today's crowded field. A finely crafted set of standards with top musicians is not enough. The vocals must be warm and mellow, yet capable of impressive gymnastics, and bandleader Andrew J Scott, the multi-talented creative force at the piano, achieves just that. He leads a dynamic trio that performs as one organism. Each instrument, Maximillian Alduca on double bass and Tim Geldens on drums, sculpts a musical space with deliberate intent.

The album's strengths lie in the connected chemistry among the trio and Scott's inventive arrangements. The pianist deftly balances tradition and forward-looking expression. Scott's arranging skills shine in the reverent yet freshly colored rendition of Gershwin's "Who Cares?" and "Fascinating Rhythm," with a Latin flair, as well as in Charlie Mingus's "Goodbye Pork Pie Hat," featuring Joni Mitchell's haunting lyrics. These versions are standouts. The latter begins with bowed double bass and builds with the trio toward a crescendo finale. On the four original pieces co-composed with his vocalists, Scott demonstrates a narrative skill through motivic development, expanding organically into rich harmonic territory." Let's Take A Chance on Love," sung in Sinatra style by Edo Santoni, pays tribute to the great Italian/American vocalists of the mid-century, evident from the first note. On "I Didn't Do That Thing Today," Tilly Street explores millennial productivity guilt in delicate unison with Alduca's double bass. Kate Wadey's subdued, bluesy performance on "In The Dead of The Night" pairs with a complex, unsettled harmony and is enhanced by Geldens' subtle hand drumming. Monica Trapaga delivers a swinging blues feel on "Inside Blues," with lyrics championing her philosophy, life is for the living.

These original songs alone create a richly textured experience that rewards repeated immersion. In the borrowed section of the album, listeners can delight in an obscure Richard Rodgers tune, "Loads of Love," and a double dose of Gershwin. These tracks showcase Scott's creativity, with a cascade of piano chords that shimmer with the modern jazz piano tradition. This is an album crafted with intention, not for show. Each track earns its place through its lyrical depth and emotional impact. By avoiding the obvious and assembling lesser-known material with stellar vocals, this album demands its listeners' attention rather than applause.

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