Pianist and saxophonist Carole Nelson was born in London but has lived in Ireland since 1986. The trio began in 2015, and features Cormac O’Brien on double bass and Dominic Mullan on drums. Through the Storm is the trio’s fourth album, following One Day in Winter (2017), Arboreal (2020) and Night Vision (2022).

As all of the trio’s album titles suggest, Nelson is deeply inspired by nature and ecology, and Through the Storm has two such inspirations. The first is the migration of swallows to Ireland from South and Central Africa (“We Begin Here”, “Lift Off”, “Sky Journey”, “Through the Storm”, “Arrival”, and “Refuge”). The second is the ecological catastrophe the planet is facing, represented in miniature by a haunting 29-second recording from 1987 (included on the album) of the mating call of a male Kaua’i ’ō’ō bird – the last known individual of the last known species of Hawaiian honeyeater (inspiring the tracks “Eden”, “Encroachment”, “The Last Song”, and “Return”).

In terms of overall mood, there is an echo of spacious, atmospheric Eurojazz – but there are plenty of contrasts as well. For example, “Lift Off” begins with a springy piano riff then builds to a modal groove with vigorous drumming and a hint of “So What” changes; “Through the Storm” has a suitably tempestuous middle section with rich block chords over insistent bass and driving drums, then finishes quietly once the storm has passed; “Sky Journey” is as pretty as a ballad, and features a fine bass solo; “Arrival” has subtle snare drumming and arco bass amongst a number of mood changes; “Refuge” brings a sense of calm with a quiet piano ostinato, gentle brushes, and the melody carried by the bass with piano support; and “The Last Song” features delicate piano and eerie squeaking arco bass, which at times sounds almost like a whistle – or, of course, birdsong.

Nelson adds alto saxophone to “Return” and “Eden” – on the latter in particular, she plays a fluttering impressionistic solo so breathy-soft you can hear the key clacks; and on “Encroachment” she swaps grand piano for Rhodes piano, creating a funky groove over solid bass and driving drums.

The final track, “Epilogue”, is an extract from a longer improvisation that the band considered – rightly so – to be too good to leave out. To my ears, its hypnotic dreaminess has a similar feel to a Bill Evans Trio performance of “Some Other Time” (the tune that Evans famously developed into “Peace Piece”).

As with all other Livia releases, the packaging makes the CD feel very collectable: a gatefold sleeve with a twelve-page booklet whose liner notes from Nelson herself include many interesting insights, such as that “Eden” and “Return” use a motif (GDCFCG) taken from the Kaua’i ’ō’ō recording.

Although the trio has received praise (especially in Ireland) and Arboreal (2020) made its way into some year-end best-of lists, they’re not as well known as they deserve to be. Here’s hoping that their signing to Livia Records – which is making a splash with many fine Louis Stewart re-releases and new releases from today’s top Irish jazz musicians – will give them the wider exposure they deserve.

​​

Please follow the Link below

​

https://www.youtube.com/shorts/MTetbaKZNYU

​