The piano trio is such an established form of jazz expressionism that it can be tricky to broaden the scope and keep the messages fresh. In recent times the classic Mehldau/Grenadier/Ballard trio broke new ground with their inspirational interpretations, Phronesis brought dynamic experimentalism to the party and Go Go Penguin thrilled through their strident dance sensibility. Daniel García Trio may not yet be tearing into the possibilities with such vigour but they are building impressive impact in a rich and subtle way.
Led by Spanish pianist Daniel Garcia with his regular partners Reinier “El Negrón” on bass and Michael Olivera drumming, the combo’s third album ‘Wonderland’ has just been released by ACT to keep the group’s momentum rolling onward. The trio’s previous albums, ‘Travesuras’ from 2019 and 2021’s ‘Via de la Plata’ merged homeland and jazz through the inventive connection of flamenco and piano trio traditions whereas this new collection suggests a widening of perspective. On ‘Wonderland’ the band fuse elements of rock, classical, R n B, bop, pop, Cuban and middle eastern music into the mix, though cannily sustaining that jazz trio dynamism.
The exquisite succinct solo piano piece Paz introduces us to ‘Wonderland’. A hovering, reflective blend of understated flamenco theatrics and tingling classical flourishes, the opener builds anticipation for the continuing journey. You sense you’re in a familiar place but then the buoyant riff of Gates To The Land Of Wonders crisply whisks you away. Here Garcia brings a Fonseca-like stride to his agile keyboard patterns while the nimble “El Negrón” / Olivera rhythm loco purrs effortlessly. The tune’s skittering drive also blossoms out in more wide-open, big chord spaces before the cut winds down with a swaggering, funky R n B coda. Two tracks into ‘Wonderland’ and the Daniel Garcia Trio are clearly asking some new questions.
Such expansiveness and invention weaves through the whole of the album. Witness the Smile draws on EST-like staccato energy to ramp up the expectancy as the tune unfolds. There’s a natural ebb and flow between the urgent percussive sections and the grand chords of anthemic post rock. The album’s title track goes one step further, all dramatic crescendos and echoes from leftfield, late seventies prog (remember Egg or Gilgamesh). Adding more colour to the soundscape, the tune features renowned jazz-rock electric guitarist Gilad Hekselman, whose warm toned, uncluttered lines sing with excitement. As Garcia recognises his guest is a player ‘who speaks through their instrument in such a human way’ and that vocal quality is evident here as well as a dash of Kym Myhr’s sonic escapism in the guitarist’s gliding solo.
Garcia as composer and producer clearly has the knack of absorbing other musicians into the trio’s sound with a sense of serving the purpose of the tune rather than over-flavouring. On the previous ‘‘Via de la Plata’ album trumpeter Ibrahim Maalouf, clarinetist Anat Cohen and flamenco guitar master Gerardo Núñez injected shades and details which chimed with the collection’s overall rootsy explorations. That same sensitivity applies to ‘Wonderland’ although on this latest adventure Garcia steps away from the instrumental comfort zone and introduces guest vocalists.
Madrid-based smooth-jazz re-definer Verónica Ferreiro brings her deep-toned gravitas to a version of the traditional song La Tarara. With a voice that yearns with hope, Ferreiro’s expressive re-telling is rightly given ample room to unfold within the trio’s sultry slow take. This uncluttered approach also greets Catalan singer Lau Noah on the delicately uplifting love song You and Me, where the folksy simplicity of her vocal bathes in the natural, lapping shimmer of Garcia’s piano.
These vocal tracks which arc away from the jazz zone might feel isolated with less sensitive handling but the easy flow of ‘Wonderland’ is uninterrupted. Such fluency comes from the foundations of a trio of musicians who have an intuitive understanding and empathic relationship. It shows that Garcia, Reinier “El Negrón” and Olivera have been a unit for many years now and this album is a testament to their unwavering musical connection. The coherency also stems from the themes of family, place and self which frame the collection and make ‘Wonderland’ complete. So, the simple joy of Mi Bolita’s light smiling samba, the flamenco dramatics of the spiralling Resistance Song and the pacey, Return to Forever speed breaks meets a bluesy gospel stroll of The Gathering, all fit perfectly within the dynamic picture.
‘Wonderland’ comes across as an album where Daniel Garcia has shown more of himself in the tunes and the stories he tells. The quote from Carl Jung on the CD sleeve, “Who looks outside, dreams, who looks inside, awakes”, defines this reflective starting point and captures the music’s intentions. ‘Wonderland’ invites you, the listener, to travel in your own direction. In fact, the stripped back, shimmering cosmic cascade of A Little Immensity and the intricate, progressive The Path Of Life both drift ambiently, high on atmosphere low on agenda. They are tantalising peeps at maybe more explorations to come from this constantly evolving trio on album number four. Until then ‘Wonderland’ is a place you’ll be guaranteed to want to revisit many times over.
Get your copy of ‘Wonderland‘ by Daniel Garcia Trio from your local record store or direct from ACT HERE
