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		Jazz Articles » Album Review » Craig Taborn / Nels Cline / Marcus Gilmore: Trio Of Bloom	

      

                
      
            
      
                                												
								
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        	Craig Taborn / Nels Cline / Marcus Gilmore: Trio Of Bloom        
      
                
      
            				
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                    Craig Taborn / Nels Cline / Marcus Gilmore: Trio Of Bloom
					
                    
                
      
                        									The concept of a musical "supergroup" is hardly new. It could be argued that Charlie Parker
      Charlie Parker
      saxophone, alto
      1920 - 1955
      "
data-original-title="" title="">Charlie Parker and Dizzy Gillespie
      Dizzy Gillespie
      trumpet
      1917 - 1993
      "
data-original-title="" title="">Dizzy Gillespie's assembly at Massey Hall in 1953 was an early example. This legendary bebop concert, despite the undeniable talent on stage, famously showcased clashing egos, particularly with a less-than-healthy Bud Powell
      Bud Powell
      piano
      1924 - 1966
      "
data-original-title="" title="">Bud Powell      . Charles Mingus
      Charles Mingus
      bass, acoustic
      1922 - 1979
      "
data-original-title="" title="">Charles Mingus       even had to re-record his bass lines to ensure his contribution was heard in the final mix. 

      Even earlier, Louis Armstrong
      Louis Armstrong
      trumpet and vocals
      1901 - 1971
      "
data-original-title="" title="">Louis Armstrong      's Hot Five and Hot Seven unequivocally earned the "supergroup" title, dominating the jazz landscape with their groundbreaking recordings. 

      Norman Granz
      b.1918
      "
data-original-title="" title="">Norman Granz      , a figure synonymous with jazz recordings, built a significant part of his reputation and fortune by orchestrating these collaborations. His knack for bringing musicians together to "create sparks" was epitomized by recordings like "Funky Blues," featuring Charlie Parker and Johnny Hodges
      Johnny Hodges
      saxophone, alto
      1907 - 1970
      "
data-original-title="" title="">Johnny Hodges       in the same studio—a remarkable success. 

      The newly formed Trio of Bloom bears a spiritual kinship to the similarly named Trio of Doom, a legendary but short-lived group from 1979 featuring Tony Williams
      Tony Williams
      drums
      1945 - 1997
      "
data-original-title="" title="">Tony Williams      , John McLaughlin
      John McLaughlin
      guitar
      b.1942
      "
data-original-title="" title="">John McLaughlin      , and Jaco Pastorius
      Jaco Pastorius
      bass, electric
      1951 - 1987
      "
data-original-title="" title="">Jaco Pastorius      . That iconic trio began recording their album in Cuba and finished it just days later in New York. While "supergroups" often generate immense audience excitement, they frequently demand compromises from the musicians involved. The primary challenge lies in their inorganic nature; they lack the effortless synergy that develops from consistent, long-term collaboration. 

      The Trio of Bloom, assembled by producer David Breskin, comprises Nels Cline
      Nels Cline
      guitar, electric
      b.1956
      "
data-original-title="" title="">Nels Cline      , Craig Taborn
      Craig Taborn
      piano
      b.1970
      "
data-original-title="" title="">Craig Taborn       and Marcus Gilmore
      Marcus Gilmore
      drums
      b.1986
      "
data-original-title="" title="">Marcus Gilmore      . What is striking is that these three highly innovative musicians, despite their individual prominence, had never worked creatively together before. Cline, in particular, had no prior playing experience with either Taborn or Gilmore. Taborn and Gilmore, while sharing the stage on a handful of occasions, had never done so in a dedicated band setting. Breskin, of course, has a history with such formations, having produced another "supergroup" album, Power Tools (Bill Frisell
      Bill Frisell
      guitar, electric
      b.1951
      "
data-original-title="" title="">Bill Frisell      , Marvin Gibbs, Ronald Shannon Jackson
      Ronald Shannon Jackson
      drums
      1940 - 2013
      "
data-original-title="" title="">Ronald Shannon Jackson      ) nearly forty years ago. 

      For the Trio of Bloom, the inherent compromises of a supergroup likely fall most heavily on Taborn, a pianist of immense talent and unique vision. Taborn often speaks of "disappearing" into his music, of an almost subconscious wellspring of inspiration. This approach suggests a powerful way for listeners to engage with his work: to surrender to the "creative grooves, textures, rhythms, dynamics, motives and motifs" and fully appreciate the music's unique qualities. Interestingly, Taborn reportedly prefers the term "black improvisational tradition" over "jazz" and, much like Jason Moran
      Jason Moran
      piano
      b.1975
      "
data-original-title="" title="">Jason Moran      , draws inspiration from a broad spectrum of art forms, including film and painting, which subtly informs his playing. 

      Producer Breskin encouraged each musician to contribute existing pieces they admired, alongside new compositions. 

      Nels Cline brought Terje Rypdal
      Terje Rypdal
      guitar
      b.1947
      "
data-original-title="" title="">Terje Rypdal      's "Bend It" from the album What Comes After (ECM, 1973). Its repetitive, hypnotic rhythm forms the backbone, over which delicate melodic fragments, ticking stick sounds and subtle, howling guitar counterpoint are layered. 

      Taborn's choice "Nightwhistlers" is a variation of a track from Ronald Shannon Jackson's Decoding Society album Eye on You (About Time, 1980). Marcus Gilmore's powerful rhythm provides a bracing opening, with Cline playing strikingly across the beat. Marcus Gilmore contributed a track from Wayne Shorter
      Wayne Shorter
      saxophone
      1933 - 2023
      "
data-original-title="" title="">Wayne Shorter      's album Native Dancer (Columbia, 1975). Taborn utilizes a celeste, and Cline employs loops to enhance the piece's inherent beauty. 

      One of the most unusual tracks is Cline's "Eye Shadow Eye," which provided Taborn with an opportunity to showcase his piano playing. On "Queen King," Cline offers a single-chord vamp—a rework of his composition "King Queen" created for the Nels Cline Singers. Taborn noodles on the keyboards before Cline's guitar savages the piece, eventually settling back into unison with Taborn. 

      The track "Bloomers" presents a particularly enigmatic soundscape. It evokes images of Geppetto's lair from Pinocchio with its chiming clocks and recalls the pioneering electronic sounds of the BBC Radiophonic Workshop. This track stimulates the thought that true innovation today might lie not just in novel sonic combinations, but in the invention of entirely new musical ideas. Being beguiled by surface sonics can be a trap. 

      The discussion of keyboard choice brings to mind Keith Jarrett
      Keith Jarrett
      piano
      b.1945
      "
data-original-title="" title="">Keith Jarrett      's experiences with Miles Davis
      Miles Davis
      trumpet
      1926 - 1991
      "
data-original-title="" title="">Miles Davis      . Jarrett primarily played keyboards with Davis because he wanted to collaborate with Jack DeJohnette
      Jack DeJohnette
      drums
      b.1942
      "
data-original-title="" title="">Jack DeJohnette      . However, Jarrett felt that electronic instruments lacked the depth and nuance of a Steinway grand piano. The intriguing question arises: What words were spoken in the studio before the playing of "Why Canada" Is this a political statement? The track itself is a short, repetitive burst of compressed anger and jagged sounds, punctuated by a brief piano interlude and pointillistic accents. 

      Marcus Gilmore's "Breath" features Taborn's piano set against rich soundscapes from Cline. It is a cultured, impressionistic piece, almost reminiscent of what Debussy might have created with modern technology. Cline's remarkable restraint in this piece is particularly noteworthy. 

      In stark contrast to the often confrontational sound of the Trio of Doom, the Trio of Bloom is far less straightforward, perhaps more evasive, and certainly more nuanced in its approach. 			
                    

                    
      
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      ">
                                    
            
        
                                    
      Track Listing
       
      Nightwhistlers; Unreal Light; Breath; Queen King; Diana; Bloomers; Eye Shadow Eye; Why Canada; Forge; 
Bend It; 
Gone Bust;
      
                						
      Personnel
      
						
      
							
      
	
      
		
      
		
      
			
				
      
											Nels Cline
									
      
			      
		
      
		
      
			
      Nels Cline
      
			
			guitar, electric			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Craig Taborn
									
      
			      
		
      
		
      
			
      Craig Taborn
      
			
			piano			
		
      
		
      
									
								
      
	
      

      


      
	
      
		
      
		
      
			
				
      
											Marcus Gilmore
									
      
			      
		
      
		
      
			
      Marcus Gilmore
      
			
			drums			
		
      
		
      
									
								
      
	
      

      

						
      
                
      Additional Instrumentation
      Nels Cline: 6-string and 12-string guitars; lap steel guitar; bass #4, #10
      
                
      Album information
      
                
      
                    Title: Trio Of Bloom

                                            | Year Released: 2025                    
                                            | Record Label: Pyroclastic Records                                    
      

        
        
		
        
		
		
					
			
      
		
					
      
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									Album Review
									Jack Kenny
									Braithwaite & Katz Communications
									Trio of Bloom
									Pyroclastic Records
									Nels Cline
									Charlie Parker
									Dizzy Gillespie
									Bud Powel
									Charles Mingus
									Louis Armstrong
									Johnny Hodges
									Tony Williams
									john mclaughlin
									Jaco Pastoriu
									Craig Taborn
									Marcus Gilmore
									Bill Frisell
									Marvin Gibbs
									Ronald Shannon Jackson
									jason moran
									Terje Rypdal
									Wayne Shorter
									Keith Jarrett
									Miles Davis
									Jack DeJohnette
							
      
		
		    
      
        
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence."  "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--"  We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. The Sceptical negation of truth he meets with the familiar argument that it is suicidal, for to be convinced that there can be no conviction is a contradiction in terms; while to argue that truth is indistinguishable from falsehood implies an illogical confidence in the validity of logical processes; besides involving the assumption that there are false appearances and that they are known to us as such, which would be impossible unless we were in a position to compare them with the corresponding162 truths.257 For his own part, Antiochus adopted without alteration the empirical theory of Chrysippus, according to which knowledge is elaborated by reflection out of the materials supplied by sense. His physics were also those of Stoicism with a slight Peripatetic admixture, but without any modification of their purely materialistic character. In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. 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