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The
title will immediately alert close observers of Howard Riley's recorded
output to the fact that this is by way of being a follow-up to his 2005
album, Two is One (Emanem); here, instead of overdubbing two pianos,
he reverts to a format documented nearly thirty years ago (on Trisect,
Impetus), involving his twice overdubbing spontaneous reactions to previous
improvisations and thus ending up with a piano trio.
Actually, in the two longest pieces here, Riley adds a piano per section, so that solo becomes duo, duo then becomes trio, but whatever the slight differences in approach, the result is quintessential Riley: what Richard Cook, in his indispensable Jazz Encyclopedia (Penguin, 2005) calls 'flinty, bonily resilient music with a northerner's distrust of swank and an extensive range of approaches codified by a trenchant imagination that always wants to get to the heart of the matter'.
Vigorous, absorbingly dense and positively teeming with ideas, this is, superficially at least, not the easiest music to assimilate it demands close and sustained attention but it richly rewards such effort by revealing fresh felicities on each hearing; Vortex patrons will be able to judge for themselves at an ASC Records gig involving Riley this autumn.