Brad Turner: Trio Plus One It's All So

Brad Turner has long been celebrated as one of Canada's most versatile and expressive artists, whether delivering shimmering lines on the trumpet, crafting emotionally resonant compositions, or, as he does on Trio Plus One, It's All So, showcasing his refined pianistic voice. The album features nine tracks—eight of which are Turner originals— affirming his stature not only as an instrumentalist but also as a composer of rare intuition and breadth. Joining Turner are long- time collaborators Darren Radtke on bass and Bernie Arai on drums, with Jack Duncan adding nuanced textures on congas and percussion on selected tracks. The Trio (plus one) forms a cohesive and deeply communicative unit that delivers music that breathes, grooves, and resonates with intelligence and heart.

The opener, "Mr. Charles," sets the tone with Duncan's congas interjecting a rhythmic shimmer. This is a harmonically rich tune that hints at Thelonious Monk with a Canadian cool. The melody walks a fine line between angularity and lyricism, while Turner's phrasing dances nimbly across the beat. "Spring Peeper" bubbles with charm as the tune glistens with delicate ornamentation and pastoral grace. It's an impressionistic gem marked by Turner's masterful use of space and voicings. "Wondertramp" is funkier fare, with a Latin flavour that Duncan amplifies. In addition to Turner's punchy chords, there is real delight in the interplay among the trio, with Arai's drumming particularly astute.

A change of pace comes with "Can't Know How. With a 5/4 tempo, this is a ballad of deep emotional core with Turner's touch at its most luminous. The tune floats in space between sorrow and acceptance, its melodic shape unfolding with the inevitability of acceptance. "Glory Days" is just one of two pieces that do not have Duncan's percussion involved. Turner is full measure for the added responsibility of carrying the number, and his single-note striking is especially deft, offering rich, often surprising harmonic undercurrents.

The title track "It's All So" embodies the album's ethos: complexity wrapped in clarity. The theme unfolds in an almost conversational cadence, with a narrative quality, as Turner shifts between major and minor keys with elegance. There is a sense of slow propulsion with an unhurried groove that feels more like a heartbeat than a tempo. Radtke delivers a solo with a deep tone and restraint, while Arai and Duncan provide subtle cross-rhythms that give the piece a floating feel. The album closes with the only standard, Cole Porter's "Love For Sale." Turner reimagines the number with bold re-harmonizations and crisp rhythmic recalibrations. It's wholly integrated into the album's flow—a respectful nod that is utterly personal.

Comments