Curtis Clark: Taagi

Together, they essay seven originals and one perennial from the American Songbook during the course of a low-key, 66-minute program with a late night feel. Although inspiring covers by other performers (TRIO 3 (lake/workman/cyrille) spring to mind), the pianist's compositions act more as reference points to be toyed with but not fully embraced. Clark's brightly recorded piano blends introspective romanticism and muscular gospel into a rich harmonic tide with a powerful blues undertow, while Aaron Gonzalez' incisive full-toned bass moves in understated counterpoint alongside brother Stefan's crisply supportive drums. In fact, bass and drums don't so much lead or follow Clark as keep pace on a parallel track, rarely meshing beyond tempo, pulsing freely rather than keeping time, to set up a nervy unresolved tension.

It's only on "NYC Wildlife" that piano and bass navigate the bop-ish bounce in close unison, demonstrating the intent behind their avoidance of tight harmony on other pieces. Elsewhere, a passage of locomotive rolling piano on "Suite: Joy/Blessings" opens out into three-way interplay, before leading to a churchy conclusion. Both the title track and the standard "Beautiful Love" receive classic ballad treatment, with the merest passes at the melody amid open conversational dialogue; the former featuring particularly pleasing cymbal colorations and a fine bass solo. However, it is ultimately telling that the strongest moments—such as the introductions to the two suites and "Joy"—are those where Clark ruminates alone.

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