THE GREATER GOOD - ROBERT MITCHELL 3IO - reviews (Sept-Dec08)

Collated the reviews so far for some end of year perusal ...
Many thanks to all who have given such support - more to come (and i will be here more often!)



The Vortex Sept 2008
The album’s title, according to pianist Robert Mitchell, refers to ‘a way of working we have in the 3io … a detailed, yet intense level of working together so that the whole ­ the individual parts, the collective sound, the empathy we share with each other’s playing ­ is elevated’.
He also describes the album’s opening track, ‘Cumulus’, in a way that might serve as another useful pointer to the group’s intentions: ‘The elements of the tune by design are very small and simple in character but the way they can be interpreted allows you a lot of freedom while staying true to the straightforward form.’
Seven of this album’s ten tracks are in-band originals, and these two statements might be applied more or less accurately to all of them; as those who have witnessed the 3io’s frequent Vortex appearances over the past couple of years will know, Mitchell’s band is adept at spinning mesmerising, lucid but consistently intense group improvisations from relatively simple sources ­ teasing, repeated phrases or rhythmic snatches ­ and often bringing them to roiling climaxes in which drummer Richard Spaven (a doyen of the so-called nu-jazz and broken beat scene) is the essential ingredient, his snappy, restless sound perfectly complementing Mitchell’s.
Fleshed out with an infrequently performed Wayne Shorter piece, ‘Dance Cadaverous’, a peppy visit to Galt McDermot’s ‘Space’ and an intriguing version, sonorously led by bassist Tom Mason, of Massive Attack’s ‘Teardrop’, this is a compelling, vibrant album from one of the UK’s most accomplished piano trios. Chris Parker

Fly Culture Oct 2008
Robert is joined once again by Tom Mason (also The-Quartet and sometime bassist with Jack Cheshire’s live dates) and drummer Richard Spaven (4Hero, Mark De Clive-Lowe and numerous others) who featured in Robert’s group, Panacea (see their last album Trust).
No doubt 3iO have been inspired by one of the albums of last year, Robert Glasper’s In My Element as the trio sound is once again contemporary. Glasper’s album got initial attention on the strength of the cover medley of Herbie Hancock’s ‘Maiden Voyage’ and Radioheads ‘Everything In It’s Right Place’. So it’s not a bad idea to cover Massive Attack’s monster hit, ‘Teardrop’. And for those that like to dig a little deeper into exotic jazz fusion directions, the cover Galt (he of original Hair and co-writer of Nina Simone’s hit ‘Ain’t Got No - I Got Life’) MacDermot’s ‘Space’ with the 3iO treatment. The ‘treatment’ is generally a start slow, minimal expression that builds up to a climax; all in a controlled manner and very expressive. As good as any is their cover of Wayne Shorter’s ‘Dance Cadaverous’ (taken from the classic Blue Note album Speak No Evil).
As the titles suggest, ‘Cumulus’, ‘A Map Of The Shy’ and ‘Quantum’ really suite this style that they’ve been working on for some time as a live band; mostly at the Vortex where the album launch is being held next week. And then Robert is touring extensively throughout October and November, sometimes with 3iO, sometimes with Omar Puente (remember the duo’s Bridges album), sometimes with Brownswood’s ever excellent José James and ending with gigs at the London Jazz Festival (with Matthew Herbert back).
It’s a bit of a shame that ‘Quantum’ gets the fade out treatment whilst some of the best playing for me is on ‘Crystal Eyes’. The album ends with the title track, ‘Greater Good’ (the one that Gilles Peterson played this week) and it’s the most dance/commercial of the set as it’s written by Spaven and Vincent Helbers from the broken beat point of view.
Another class album this and I’m certainly looking to catch at least one of the live gigs.
Gerry Hectic (www.flyculture.co.uk)


Jazzwise Nov 2008
Robert Mitchell 3io The Greater Good **** (4stars)
If you've read any press about the pianist Robert Mitchell then you probably would have found both his name and the word "cerebral" in the same sentence.But although Mitchell has something of the classical composer's taut sense of structure, this doesn't undermime the rhythmic audacity and soulful spirit he brings to his music. This goes for his new release, the first from his piano trio and the second CD released by the UK Jazz Services' newish recording offshoot. This CD follows Mitchell's investigation of a versatile number of formats that started with the M-Basey avant-soul sextet Panacea, a duo with Cuban virtuoso Omar Puente, and a solo piano set on last year's tense modern classical-orientated Equinox. As well as his absorbtion of more traditional jazz piano via Hancock, Mehldau and Jarrett, Mitchell demonstrates a unique way of merging the angular voicings and textures of contemporary classical music with the trance-like funkiness of the UK's urban music underground. In terms of the later he has the perfect partner here in Richard Spaven, arguably the best post-hiphop jazz drummer around. This is evident on 'A Map Of The Sky' in which Mitchell's soul-song melody counters Spaven's broken beat-inspired groove. Double bassist Tom Mason also occaisionally leads from the front as on the trio's excellent version of Massive Attack's 'Teardrop' . While the other cover is the Wayne Shorter track 'Dance Cadaverous' from Speak No Evil ther's no shortage of originals in the main from Mitchell but also with contributions from Spaven and Mason. The piano trio maybe one of the more over-subscribed formats in jazz right now, but Mitchell proves he's one of its most original voices. Selwyn Harris -

www.jazz.com Oct 2008
Robert Mitchell 3io: Quantum
Much of my formative youth was spent in a neighborhood of Franklin, Massachusetts. Decades after I left, I was back in the area on business and had a few hours to kill. I decided to see the old neighborhood. As I drove down Eldon Drive, I noticed first how all my childhood friends' houses were now under the shade of very large trees. When I was a kid, those trees cast no shadow. I parked my car on the side of the road and got out to walk around. I could not believe how small the homes were. There were families of six or seven people living in those houses when I was growing up! But the strangest perception overtook me as I walked between the blocks. I would swear that all the homes were sitting approximately three feet to the right of where they used to be! It was a bizarre experience. I know they have not moved in the physical sense. But perhaps my added height, my changed vision and the larger environment I had relocated to had all shaped my new view of this long-held memory. Whatever the explanation, I write this preamble now to convey my sense of Robert Mitchell's 3io trio. It is about three feet to the right of other jazz piano trios."Quantum" is a perfect example. You expect a jazz piano trio to either swing or play a touching ballad. You expect impressive keyboard runs performed at lightning speed. You know you will hear a piano solo, bass solo or a drum solo. You can be sure these things will occur. None of them happens on this tune. Instead we are presented with ensemble playing that focuses on the spatial and indirect reference. (Is this the atomic world?) Texture and feel are the dominant notes. You may be thinking that I am describing a free jazz performance. But "Quantum" and other cuts from the album are far from that. Free jazz has no plot. The music heard here tells a structured story. It just so happens that the structure is not located where you expected it to be. I wonder where it will be located next time I visit. Walter Kolosky

Robert Mitchell 3io: Cumulus
I have a stack of CDs on my desk that I audio scan to determine which cuts are worthy of review. Once I have picked a cut, I listen to the full tune and review it as I listen. Because of time constraints, I rarely get to listen to a whole album these days. That is a fault of our busy modern lifestyles and CDs that contain far too much music. At some point, I will write a blog about this need artists have to fill up the whole 74 minutes of a CD. I think it is detrimental to the art. We don't have the time in a day to sit still and really listen for 74 minutes. But now I have gotten off track already. The point to my story is that I just don't have time to listen to music the way I wish I could. Yet every once in a while, something will grab me and I must make time for it. Such was the case with this release by Robert Mitchell's trio (which he spells 3io). I used the only free moments I have these days, late-night bedtime, to listen to the CD in its entirety instead of counting sheep.I have heard many jazz piano trios. I know what to expect. But this trio is different. Parts of The Greater Good are not that different from the other impressive progressive jazz piano groups I often write about. Like those, this 3io has driving rhythms and chops to spare. But I am more interested in the introspection of "Cumulus" and some other tunes. The easy analogy is to compare the piece to the clouds it refers to. But you could do that with almost any New Age piano music. New Age can be relaxing but it contains no drama. "Cumulus," though, is literally dripping with it. There is a deep thought in every note of Mitchell's playing. At times he proceeds so slowly that we have time to think about each note right along with him. You talk about controlling time? Mitchell, bassist Tom Mason and drummer Richard Spaven have mastered it. Since the Robert Mitchell 3io went to such effort to do so, the least I can do is to make the time to join them. Any time listening to this music is time well spent. (By the way, the album clocks in at about 60 minutes.) October 28, 2008 Walter Kolosky

A tonic for the senses .. (Halifax Evening Courier/27Oct 2008 - live review)
Published Date: 27 October 2008 By Jayne Sheridan The Robert Mitchell 3ioSquare Chapel, Halifax A VISIT to Square Chapel is always a tonic for the senses and it formed the captivating backdrop to Robert Mitchell's supreme piano playing, an exquisite blend of jazz improvisation and contemporary composition. The sounds and the space were, in short, a splendid complement.
Subtly understated bass from Tom Mason and restrained drums contributed by Richard Spaven gave warmth and depth to Mitchell's work.
Mitchell has played with a gallery of potent musicians and his three-piece band hints at Keith Jarrett's concentrated facility but is not afraid to add colour with some jaunty, Latin phrasing.
Each of the trio throws his creative hat into the ring. Worth saying too, that the venue's stately Steinway piano is becoming a star in its own right. Called "one beautiful piano" by the featured artist of the evening, the instrument has a sonorous beauty.
The only downside of an engaging occasion was the desperately sparse crowd. Dean Clough's jazz show of the previous evening seemed to have sapped local concertgoers' energies.

www.thejazzman.com Oct 2008
Pianist Robert Mitchell has been an influential figure on the British jazz scene for a number of years now. A member of the F-ire Collective this is, surprisingly, Mitchell’s first recording in the piano trio format. His previous releases have seen him leading his six piece jazz/soul band Panacea on the albums “Voyager” (2001) and “Trust” (2005). Later came a dazzling duo recording with Cuban violinist Omar Puente “Bridges” (2006) and the challenging solo piano opus “Equinox” (2007).
“The Greater Good” appears on the new Jazz Services recording outlet which was recently established in conjunction with 33 Records. It is probably his most conventional and accessible recording so far but with some sparkling playing from all three protagonists it is also his best. Joining Mitchell are the outstanding young talents of Tom Mason (bass) and Richard Spaven (drums). Both have played extensively with Mitchell for a number of years as the rhythm section of Panacea (still a going concern) and more recently as 3io, with a regular gig at North London’s renowned Vortex jazz club.
As a result the interplay between the three musicians is excellent with a high degree of interaction.The material mainly comes from the pen of Mitchell but both Mason and Spaven contribute a tune each, the drummer collaborating with Dutch musician Vincent Helbers on the title track. The trio also tackle Galt McDermot’s “Space” and there is a stunning version of Massive Attack’s “Teardrop”. Wayne Shorter’s “Dance Cadaverous” (from The Shorter album “Speak No Evil”) is the closest they get to a jazz standard. This tune is one that is becoming an increasingly popular vehicle for the younger generation of jazz musicians.
Mitchell is a phenomenal pianist with an awesome technique. Classically trained he can also be very intense but there is a relaxed quality about “The Greater Good” that has not always been present on his previous albums. In addition to the classical influences there are also hip hop grooves and broken beats and in Mitchell’s percussive style the occasional nod to old masters like Thelonious Monk. It all adds up to an absorbing album that covers many bases.
The album opens with Mitchell’s folk tinged tune “Cumulus”, with Mason also featuring as a soloist, the first of several such contributions over the course of the album.
Another Mitchell original follows in the form of “A Map Of The Sky”. Again the trio expand from a relatively simple melody into something more complex with highly pleasing results, the whole gently propelled by Spaven’s subtle grooves.
Shorter’s “Dance Cadaverous” is a tour de force for Mitchell with his tumbling runs and there is an energetic face off between Mitchell and the outstanding Spaven.
The swirling,impressionistic “Quantum”, another Mitchell original is quickly followed by a brief and enjoyable romp through McDermot’s “Space”.
Tom Mason’s composition “Ochre” is the longest item on the record. It winds it’s way romantically and elegantly for some eight minutes but is faded out rather abruptly. It is followed in turn by Mitchell’s “Crystal Eyes” which mines similar territory.
Next we come to the trio’s version of the massive attack tune “Teardrop”. A highly melodic piece this is very much a feature for the excellent Mason. He states the melody first on pizzicato bass before picking up the bow midway through the song. His brilliant arco playing is reminiscent of Dan Berglund’s work with e.s.t. and is buoyed by Spaven’s implacable groove. Dramatic and attention grabbing this is the stand out cut on the album. It is a piece that if played in isolation has the potential to appeal to a wide musical audience. Sadly in this country it is unlikely to get any radio play other than on specialist programmes which is a shame as I sense it would hold a broad appeal.
Mason is again prominent on Mitchell’s “The Blessing” a gospel tinged tune with yet another strong melody acting as the foundation for Mitchell’s piano ruminations.
Finally come Spaven and Helbers’ title track described by Mitchell as a “leitmotif” for the album. Grooving and melodic it features some dazzling player from the leader and superb support from his band mates.
Less intense than some of his previous projects and sounding all the better for it “The Greater Good” is Robert Mitchell’s best album thus far. Full of attractive melodies and supple grooves it is a worthy addition to the piano trio canon. Ian Mann


THE GUARDIAN 7 Nov 2008
****
This has to be British pianist Robert Mitchell's best album so far, a bold gamble by the UK jazz organisation Jazz Services on the likelihood of the ascetic Mitchell - frequently torn between contemporary-classical jazz and experimental nu-funk - coming out of his shell. He performs here with a sympathetic acoustic trio, including Tom Mason on bass and Richard Spaven providing a discreet percussion whisper - and, at times, a climactic alternative voice. Mitchell's phrasing is unusual: he improvises in unexpectedly juxtaposed motifs rather than long postbop lines. Nonetheless, he has a jazzier feel here than usual, with bluesy elided notes and bursts of vibrant swing. In its imaginative development of hooky material, The Greater Good hints at creative and typically circuitous listening to the Bad Plus, EST, and even a little Brad Mehldau. Wayne Shorter's Dance Cadaverous is playful, building through fast runs up to big chords and a swell of taut percussion. Ochre is a reflective piece that hints at a bashful, semi-hidden melody, and Massive Attack's Teardrop has Mason covering the theme against Mitchell's treble tinkles, the high, bowed bass eerily suggesting a wind instrument. John Fordham


INDEPENDANT ON SUNDAY 2NOV 08
****
Can trip-hop do bebop, with Massive Attack rather than George Gershwin providing a successful jumping-off point for dreamy jazz grooves? A fabulous version of MA's "Teardrop" , with the melody line taken as a bowed bass solo by Tom Mason, answersin the affirmative. Mitchell's superbly fluid band contribute to what is providing to be a golden age for the piano trio with a really striking debut. It starts all baroque, then stretches out through drummer Richard Spaven's broken-beat rhythms into an English po-mo style. Phil Johnson


PIANO MAGAZINE - NOV/DEC2008
Robert Mitchell 3io forged their relationship in the pianist's largergroup, Panacea. There is less emphasis on unusual rhythmic metres inthis new setting, while going fully acoustic has meant that thehip-hop and broken-beat imprints are less immediately apparent; butSpaven's rimshots, Mason's pinging pizzicato and Mitchell's crispphrasing continue to emulate these urban-music influences.The stop-start snarework of broken beat and the ascetic simplicity ofthe melodic writing undercut much of the music. Mitchell's exposedright-hand lines, flawlessly clean in sound, are Classical in texture,but range from twisted, abstracted Romanticism in The Blessing,through the spiky angularity of Space, to the more lyrical jazzlanguage of Ochre. His soloing is marked by steely fingerwork andranges from sweeping arcs to the freneticism and hammer-like rapidrepetition of Wayne Shorter's Dance Cadaverous. The high energyMitchell generates through this hyperactivity, in this piece andelsewhere, is matched at these points by a heavier drum sound, lendingsome of the album an epic feel. There is real scope in the group'smusic, confirming a successful transition of their collective voiceinto this smaller framework. Chris Elcombe

ECHOES Dec2008
****
Greater and smaller, in fact. This is the first offering from the British pianist's trio that is an entirely different proposition to his 6-7 piece band a Panacea. Regular drums and bass team , Richard Spaven and Tom Mason are retained and the marked cohesion of the little unit within the larger ensemble can be appreciated in a renewed kind of 3-D. While Mitchell's sensibilities by no means eschew a Hancock-Tyner-Jarrett modern jazz foundation, he embraces the lessons of their all important, and often overlooked descendants such as Gerri Allen, whose groups have consistently had an elasticity of form that allowed for the choppier rhythmic streams of Cecil Taylor and Don Pullen to flow into the above. That said , Mitchell has managed to fashion his own personal brand of post-modernism through a combination of idiomkatic open-mindedness and technical skills that see him intergrate anything from the tremulous harmonic shades of Pat Metheny to riptide Afro-Cuban phrases in very lyrical original compositions as well as covers of demanding pieces like Wayne Shorter's Dance Cadaverous. The success of the record is not just down to the leader's brilliant fluency in expansive lines or uncommon resolutions of chord sequences. It also lies in the well pitched use of Spaven's backbeat, so often a resonant extra bassline to supplement Mason's, the momentary rests between melodic lines to create swells of tension or , as in the hymnal reprise of Massive Attack's Teardrop, a challenge to structural convention. Here Mason, his broad, expansive tone caressed by upper register piano trills, states the melody on bass before taking an arco solo that stokes a disquieting fire through a series of chilling , sawing vibrations that eventually evaporate into a reverential silence. Despite the great virtuosity that marks the performance - particularly some of Mitchell's more heated improvisations - there is also a melodic richness to the fore that often takes the shape of snappy, very catchy riffd, short, pithy blues-charged phrases that creep into a piece with an almost imperceptible stealth. Kevin Le Gendre