Trion In Flight: A Celebration Of Freedom and Form for the Jazz Gallery’s 30th Anniversary

The Jazz Gallery is celebrating its 30th anniversary this year, and the programming has been nothing short of remarkable. One of New York City's most hospitable and artist-friendly venues, the Gallery offers an ideal listening experience: comfortable seating, excellent sound and sightlines, and a genuinely welcoming vibe—including for photographers, which is much appreciated.

Trion, the powerhouse trio led by drummer Johnathan Blake, features bassist Linda May Han Oh and saxophonist Chris Potter—leading lights of the contemporary jazz scene. Each is a bandleader in their own right, and their artistry has also found expression alongside some of the most revered voices in modern jazz, among them Maria Schneider, Pat Metheny, Joe Lovano, Dave Holland, Dr. Lonnie Smith, and Kenny Barron. The group held a five-night residency, and the run was nearly sold out in its entirety. Despite having played together only a handful of times before this engagement, their chemistry was immediately apparent marked by tight interplay, mutual responsiveness, and a clear sense of shared direction.

Trion recorded a live album at the Jazz Gallery in 2018. In his review on All About Jazz, my colleague Dan McClenaghan remarked, "Chordless trio outings have become commonplace since Sonny Rollins introduced the idea. Few hit the level of excellence of Trion." That description perfectly captures the performances I witnessed seven years later. I was fortunate to attend the second sets on the final two nights, Friday and Saturday (March 22 and 23). The energy in the room was palpable—a reflection of the audience's shared sense that they were witnessing something extraordinary. The trio was in top form, playing with a rare blend of precision, intensity, and creative freedom that made each night feel genuinely memorable.

On Friday night, they opened with Tom Harrell's "Delta of the Nile," which set the tone immediately: smart, soulful, and deeply swinging. The version was markedly different from the original, which features Omer Avital on oud. Blake, who played with Harrell for ten years, is well acquainted with his rich and underrecognized body of work. Chick Corea's classic "Tones for Joan's Bones" followed, full of rhythmic twists and engaging exchanges. Then came a blistering take on John Coltrane's "Countdown." It is considered a rite of passage for serious young jazz saxophonists seeking mastery of the post-bop language. It's a technical and harmonic benchmark, often used to stretch and refine one's improvisational vocabulary. Potter navigated the terrain with remarkable ease, delivering one of the most jaw-dropping solos I've heard in recent memory. The trio also played "Strange Heavens," a ballad by Linda May Han Oh that brought a more contemplative, spacious energy to the set. Each tune featured extended solos that were expressive, and captivating yet never felt indulgent. Every player listened deeply and gave the music room to breathe.

They played many of the same tunes on Saturday but came out with even more fire. The set felt looser, more freewheeling, and the intensity surpassed the night before. Solos stretched out at length but never lost focus—there wasn't a dull moment. I've heard these three in a wide range of contexts, always performing at a high level, but rarely afforded the opportunity to play with this degree of freedom and openness. The set ended with a performance of Blake's composition "West Berkley St.," the closing track on Jonathan Blake's 2019 album Trion. Written as a tribute to his father, it is a lyrical and meditative, R&B-inflected piece that encapsulates the emotional and musical depth of the trio.

Blake was masterful throughout, propelling the group with volcanic intensity and nuance. His unusually low placement of the cymbals—just above the snare and toms—contributed to a distinctive timbre and facilitated an exceptionally fast, fluid response. The result was a propulsive, dynamic energy that shaped the rhythmic flow in both overt and subtle ways. Oh's bass work was lyrical and grounding, and deeply affective. At the same time, her dazzling virtuosity was always evident—not as flash, but as an extension of her expressive range. Potter was simply on fire—playing with remarkable inventiveness, a singing lyricism, and total command of the expansive jazz language. His solos felt both spontaneous and deeply shaped, unfolding with clarity, momentum, and a sense of purpose that was thrilling to hear. Though the format allowed for expansive solos, the trio played with remarkable cohesion and mutual awareness. Their chemistry was unmistakable—each player was fully attuned to the flow and energy of the music.

The level of musicianship was staggering, but what made the experience unforgettable was the sheer joy and connection on stage. Nights like this are why we go out to hear live music. And for the Jazz Gallery, this engagement stood as a testament to three decades of championing boundary-pushing artistry.

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