New Frontier - Three of a Perfect Pair.


The Steve Howe Trio


When the Trio toured in the UK in September 2013 it was clear the band were on the move. Their performance of Heart of Sunrise showed the band playing with more focus and attack and not afraid to pick up the more strident vibe of Steve's parent band rather than the shuffle employed previously. But what was most exciting is they played three new pieces which reflected a greater determination to move in on a more Progressive Rock feel and they showed the Trio coming into its own, developing its own musical personality. The titles of the pieces they played do not appear on this CD but I recognise the musical ideas and how they have blossomed. 

Hiatus

A nagging insistent organ phrase opens proceedings and the first thing I noted was the superb way Dylan has captured Ross. Its a warm and full "old fashioned" organ sound rather than the thinner modern electronic facsimile that is now de rigour. The piece relies on the repeating nagging phrase, Dylan keeps time in that beautiful understated way which is his trademark and Steve weaves in and out improvising the melody with a Gibson Acoustic but also switches to electric to achieve some beautiful dream like "backward" statements, which remind me of Jan Ackerman and therefore Peter. Overall though the piece is the perfect opener building excitement in a very tight musical framework, a great atmospheric start. 

Left To Chance.

Opens up the mood, there are still intense moments of close unison work, playing off each  other but then the music becomes more expansive with Steve playing more colourful solo's. At the five minute mark the music stops and restarts and for some reason the jaunty playfulness takes me back to 1971 and Traffic's excursions into Jazz on their greatest achievement Barcleycorn. Its Ross's funky playing and Steve big thick guitar phrases that provide the echo. 

Fair Weather Friend 

This feels more sophisticated, the playing more nuanced and the tune more involved as they grove against each other. The Co writer Mr William Bruford ! That explains it. Some wonderful drumming from Dylan shuffling the rolls forward without getting over excited or distracting. The main melody is lovely and Mr Howe obliges on the Fender bass. These little additions give the music more bandwidth. Then a signature rotation on guitar and we are finished. 

Zodiac 

Sounds like a piece that Kenny Burrell might have written and would have fitted in perfectly with the vibe of their first CD. It comes across as a musical statement about influences. 

Gilded Splinter 

Is Back to the Future the wonderful intense opening unison playing which echoes in my mind as something they played live in 2013. After the intro it opens out and Steve begins playing some very elegant guitar work, then gone in the blink of an eye unison playing before more adventures. This again highlights how well integrated the Band have become offering a new sense of musical purpose and focus. With its "Classical Gas" construction is one of the highlights. 

Showdown 

Echoes of Traffic again, shuffling Capaldi, nice sweet guitar licks and warm and punching Hammond Organ.This piece like the first reminds me of the excellent capture of Ross's instrument. Its particularly noticeable when there is a brief point when Ross is exposed before Dylan comes in and Steve has a lovely monologue. 

Missing Link

Returns to that intensity I remember from the live shows. Steve plays an insistent rotating figure before the piece becomes more open. Indeed my sense when listening all of the music is it is very closely mic'd and the instruments sound "in the room"(that may not be the case as I am not a technician but thats how it feels, intimate). By the time we reach the seventh offering the band have built a very clear musical identity with their own signature sound. This I am sure is in part due to them writing all the material, to coin a phrase, they own it. 

Outer Terrain

Feels entirely Steve Howe Trio and yet some of the guitar work might suggest this could transfer to Yes and given Steve's dominate role here that shows how compartmentalised this music is. In reality, if it fits anywhere within the Lexicon of Yes it would be very early, the Unison Uplifting Rotating Riffs and Keys Studio with the clever and constantly evolving solo offerings. It is frankly the only time I am reminded of the association.  

Western Sun. 

In terms of colour with Fender Bass and Gibson Acoustic Western Sun is the most atmospheric and colourful track and Dylan is very sophisticated and on the money as he rides out the quiet parts and propels others. Ross on Organ and Steve on the Gibson Acoustic works really well as a combination. Nice change of pace on this piece which enables Ross to feature and build the music. A false ending gives the chance for the build to be repeated this is great music making, they are digging in and so am I. Voila!

The Changing Same. 

The final number written with Bill has a blues feel to it, lovely lyrical guitar playing, a sort of latter day take on the area they mined with "He Ain't Heavy He's My Brother." As the music progress's you can hear more and more of Bill's tune which is very stately and grown up. Great atmospheric way to end the programme. 

After the excitement of 2013 I am pleased to say my patience has been rewarded and I can see this CD being a regular play in the years to come, part of my core listening experience. 

Thanks to Steve, Ross and Dylan for what I am sure is for them a labour of love. Nice appropriate cover based on Dylan's photos.   

   




      


  



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