Gabriel Latchin Trio: The Man I Love

In the 1920s and '30s, American composer and pianist George Gershwin, together with his lyricist brother Ira, composed a body of work that bridged classical compositions and popular songwriting. Their sophisticated melodies and lyrics produced dozens of enduring jazz standards that have formed a cornerstone of the American Songbook for nearly a century. With these songs recorded thousands of times, one might question whether there is a need for further interpretation. However, pianist Gabriel Latchin's trio brings such fresh insights to their album The Man I Love that the answer becomes an emphatic yes.

The trio was last featured on All About Jazz following the release of Viewpoint (review). The combination of musicians was new at the time and featured British bassist Jeremy Brown and American drummer Joe Farnsworth. The members of that polished trio remain as they add new sparkle to 10 Gershwin compositions.

Latchin, who measures streams in tens of millions, is a pianist whose touch and sense of rhythm seem to belong to a different era, enabling him and his partners to fully embrace the essence of the classic piano trio. The album opens with Gershwin's classic "Summertime." Despite previous versions numbering over 3000, the trio find a way to make the tune fresh and appealing, as Latchin combines elements of Claude Debussy's "Reverie" so neatly into his phrases that it sits naturally in the original tune, alongside Brown and Farnsworth's rhythmic invention.

The pace slows down for Latchin's gentle piano exploration on "How Long Has This Been Going On," before the swing returns with "It Ain't Necessarily So," taken from Gershwin's opera Porgy and Bess. The trio's lightness of touch is again evident in inventive piano phrases and crisp, artful rhythms.

Among the album's many highlights, "'S Wonderful" is an uplifting samba-tinged delight with Farnsworth delivering a crisp and fluent solo. He is regarded as one of the world's top drummers and he shows why again with a brilliant solo, among darting piano runs, on "Love Walked In." There is also a delicious version of "I've Got Rhythm." The song's chord progression, known as 'rhythm changes,' is the structure upon which many jazz improvisations and tunes (including the Flintstones theme) have been built.

"They All Laughed," taken from the film Shall We Dance, opens with a contemplative introduction before evolving into a catchy swinging tempo. These musicians are at the top of their game and the rhythm emerges seemingly naturally, with admirable ease with no need for anything flashy. Brown captures the attention with a neat solo and Latchin's flowing solo flirts with the melody, adding a touch of wit that even Fred and Ginger might have appreciated. Elsewhere, Latchin explores the poignant melody of "Someone To Watch Over Me," brings romantic sentiment with "Embraceable You" and adds a Latin influence to the title track.

After nearly a century, it is clear that these songs have not only withstood the test of time but continue to reveal new dimensions. These new arrangements are carefully considered and highlight the structural brilliance of the originals. The trio embody the spirit of classic American trios of the 1950s and '60s. Their interplay is completely absorbing, as is their clarity and precision. Latchin's playing has an elegance and refinement that distinctly sets him apart from his contemporaries, making this an impeccable salute to the Gershwins' enduring legacy.

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