Triptych Myth, the new collaboration between pianist Cooper-Moore, drummer Chad Taylor, and bassist Tom Abbs, is unique in that it uses the essence of the pianist's compositional and dynamic framework throughout, no matter who wrote what on the album. This is hard swinging outside jazz, where improvisation serves the composition until the composition is turned inside out and is no longer necessary as a basis for improvisation. Cooper-Moore's pianism is based on dynamics and swing. His penchant for rhythmically intense music that nonetheless adheres to the feel of swing and bop is original and impeccably wrought. As a rhythm section, Abbs and Taylor understand the notion of propulsion, that the piano is a launchpad and their job is to keep it moving forward no matter how many twists and turns the harmonic reaches of a particular exercise might be. To that end, "Stem Cell," "Harare," "Spatter Matter," "Stop Time #3," and "Susan," are all reflections of invention in motion on-the-spot through melodic and harmonic considerations offering frames for the contextual moment of contact and appearance. "Nautilus," with its lovely droning tones and shapes, is slowed to float forward by the dancing in Taylor's cymbal work. There is no stasis, just a gradual and meaningful unfolding of mystery and elegance. It feels like focused meditation that is single-pointed, but many faceted. Likewise, Abbs bass work on the reggae-drenched "The Fox," creates a wide open gap for the pianist's use of the right hand to inspect and repeat patterns that focus melodically the entire rhythmic notion inherent from the first note. This is a lovely and moving record that underlines the best of what is actually happening in the jazz world right now. -- Thom Jurek
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