Tryptique: “Tryptique” (2024) CD Review

Tryptique is the trio of Fern Lindzon on piano, Colleen Allen on flute and saxophone, and George Koller on bass. The three, based in the Toronto area, have known each other a long while, but it was the pandemic that brought about this particular project, the three finding they had the time to play together weekly, and in doing so were able to build up a repertoire. They find inspiration in a wide range of musical realms and create what one of the band members has referred to as “chamber jazz.” The group’s self-titled album contains a mix of covers and original material.

The album’s opening track, “Wondering,” begins with some beautiful work on piano, with a sort of magical or fanciful feel to it, like opening the door to another land. And soon we are inside. And while there is a beauty, there are hints of sadness too, and it all feels so much bigger than us. It is music that we can immerse ourselves in. This track was written by fellow Toronto musician Doug Wilde, who included it on his Rhymes With Reason album, released in 2017. It is followed by an original number, “Canarios,” which was written by Fern Lindzon. This has a light, cheerful, rather playful vibe, Colleen Allen’s work on flute providing a large part of that feeling. There is the carefree sense of childhood here, especially in that first section, as we feel like skipping across the landscape. This track had me smiling before long at all. It then goes into some more interesting territory, particularly in the work on piano. There is still a sense of play, but now perhaps there is more weight to it. The track does return to that more cheerful theme again before the end.

There is a more somber mood then established at the beginning of “Retrato Em Branco E Preto,” a piece written by Antonio Carlos Jobim and Chico Buarque. That feeling is heard particularly in that beautiful piano work, like a memory that haunts us. Colleen Allen, back on saxophone for this one, adds to that sense of melancholy. There is a sense of great loss in her playing, but also a resilience, as if she is fighting sadness by expressing it. In the second half there is a wonderful lead on bass that seems to promise us some relief. And by the end, we get the sense that we are able to climb atop the despair, not let it get the better of us. This is a beautiful and touching piece, and is one of my personal favorite tracks. The group then turns to the jazz standard “Satin Doll,” written by Duke Ellington and Billy Strayhorn, here with an arrangement by Fern Lindzon. It begins with that slower, somewhat mellow section, and then the bass leads them into a more swinging section, but only for a moment, before returning to the slower section. What I especially love is that next part, when the piano gets dirty and mean, the bass dripping cool. Oh yes, at this point everything feels right with the world. The piano then begins to race forward. It’s interesting how often and quickly this rendition changes, and that’s part of what keeps us interested, keeps us intrigued. Even if we’re familiar with the tune, we’re still not quite sure where it might take us next, and these musicians provide an enjoyable ride, sometimes swinging, sometimes introspective. And George Koller has another opportunity to lead on bass.

“Eucalyptus” begins with some pretty work on piano. There is something warm about this one, something friendly and welcoming, like a meeting with a silent agreement to not discuss the troubles that both know exist. It was written by Steven Mackinnon, Colleen’s husband, as a gift to her. And Colleen’s work especially carries that warmth. This is just the kind of music we will likely be turning to as our country descends into fascist madness in the coming year. It is so strange to know it’s coming, but unable to stop it. I’ve made the decision to focus on music and avoid all news (that decision has carried me through the last seven weeks already). We can wrap ourselves in this music, a warm shield against the harsher winds, and remember that love will pull us through. Then “Compassion Blues” is a piece composed by George Koller, who included it on his 1994 album Music For Plants, Animals, And Humans. That original recording found him providing vocal work as well as work on bass (that vocal work having an oddly spiritual quality). This new rendition begins with some great solo bass work, though no vocal work. Approximately a minute in, Fern and Colleen join him, giving this rendition quite a different sound from the earlier recording. And I personally hear more of that compassion of the song’s title in this rendition. There is also a strong beauty to this piece, especially in Colleen Allen’s work on saxophone. And I love that work on bass just before the end.

There is something uplifting in “Themes,” which I appreciate. This is music that tells us that things will be all right. Somehow they will be, right?  Then the piece takes a sudden turn, taking on a stronger rhythm, a more insistent tone. There is a joy to the work on saxophone, as we move to the rhythm of the piano and bass. It isn’t long before things change again. I like the playful element to this track, the movement and joy within the structure. That’s followed by “Do Look,” another original composition by Fern Lindzon. She begins it with some wonderful classical work on piano. Then as the other two come in, there is a shift into cooler territory, the three working closely within a theme, moving in the same direction, before then opening up, bringing in more freedom and opportunities. I especially love that section in the second half that feels like an interesting dance. There is an unexpectedly seductive element to the playing, as things get loose.

“Zeynebim” is a traditional Turkish piece, adapted by Karl Berger. These musicians find a freedom within this piece, space to explore, to see what might happen. Things get loose, but not chaotic. There is an excitement to the playing as a result, and so an excitement for us too. This is a piece that keeps the listener on his or her toes. Don’t you love when music surprises you? Am I completely mad, or is there just a hint of Black Sabbath’s “Iron Man” there just before the end? Then some fun classical work on piano begins “A Flower For Amadeus.” As it settles in, there is an undeniable beauty to this piece. Colleen Allen is on flute for this one. This was written by Moe Koffman, who included it on the 2000 release Moe Koffman Project, an album that George Koller played bass on. It’s cool that he’s revisiting it in a different context here. There is an overall gentle and soothing vibe, with some nice, dramatic turns and some wonderful work on piano.

“Après Un Rêve” was composed by Gabriel Fauré, and this one also begins on piano. It features some gorgeous work on bass too, leading us into reflection and contemplation. We drift into memory, and perhaps we are haunted by someone’s image. She slides into view between the notes but we can’t quite keep her in focus. We become citizens of memory, immersing ourselves in a time we can’t quite let go. If we surround ourselves with those thoughts, those sounds, then maybe that can become our reality once again. This track contains beautiful work on piano. They wrap up the album with “News For Bob,” an original composition by George Koller. This one has a fun vibe right from the start, putting us in a cheerful place. There is a sense of joy, almost of celebration here, like toasting a good friend, drinking to his health, and spreading that merriment around to all in the room. The saxophone and piano work together for a time on a theme, and then get a little looser. There is a cool lead on bass in the second half. This track leaves us ready to face the world outside with a smile.

CD Track List

1. Wondering
2. Canarios
3. Retrato Em Branco E Preto
4. Satin Doll
5. Eucalyptus
6. Compassion Blues
7. Themes
8. Do Look
9. Zeynebim
10. A Flower For Amadeus
11. Après Un Rêve
12. News For Bob

Tryptique was released on November 15, 2024.