Following the release of their debut album Magnolia, it was tempting to classify Piano Trio Okonski’s sound as conventional piano trio jazz, either in the swinging or avant-garde sense. However, that would be a misinterpretation. It is neither a replication of The Bad Plus’s early style nor the R&B of Durand Jones & The Indications, the band featuring pianist Steve Okonski and drummer Aaron Frazer. The third member of the trio is Michael Isvara “Ish” Montgomery. Like its predecessor, Entrance Music was recorded at Terry Cole’s Loveland, OH studios on the Colemine label.
While it’s easier to pinpoint what Entrance Music is not, we can still try to capture the essence of its calming and relaxing sounds. Okonski, the leader, likens it to the catalogs of ECM and Stones Throw. The ECM comparison feels especially apt, given the minimalist European piano trios that label is known for. The trio’s sound shares that improvisational, in-the-moment feel, making it hard to classify. If forced to choose, one might place it somewhere between jazz and ‘new age.’ But unlike much ‘new age’ music, which often feels emotionless, Okonski’s playing stirs up a range of emotions. The album’s title suggests that the music will announce itself, urging the listener to be present and attentive.
While Magnolia carried a dark, late-night vibe, Entrance Music often evokes the feeling of morning or daylight. The opening track, “October,” showcases the grand piano’s lush tones, with bright chords and shimmering runs that could equally represent spring as the autumn season suggested by its title. Drummer Frazer provides a steady beat, almost as if setting boundaries for Okonski, ensuring he doesn’t venture too far into an exploratory mode. “Vista” highlights Frazer’s groove, driven by heavy chords and quick right-hand piano flourishes. It all stays lighthearted, shifting mid-piece into a march-like rhythm. Okonski plays with high-register notes before diving into deep left-hand chords.
“Lakebridge” delivers a pastoral melody that conjures images of a leisurely walk on a spring day, with blue skies and birds chirping. Okonski’s talent lies in his ability to convey much with just a few well-chosen notes—a reminder that sometimes, fewer notes are more powerful. Frazer’s drumming adds an interesting dynamic. He seems more natural in R&B settings, but here, he switches between leading and following the pianist’s direction.
“Wind of Vertigo” shifts the sound, taking on an ethereal, haunting quality. The bassist, Montgomery, leads the dramatic “Passing Through” with rich, authoritative tones, while Okonski plays with a slow, deliberate pace, building tension as the piece unfolds. “Summer Storm” starts off surprisingly bright and melodic, but subtle shifts in dynamics suggest an approaching storm. As the intensity increases through a series of piano arpeggios, the storm finally passes, and the trio exits quietly. “Dahlia” brings a lyrical touch over Frazer’s crisp beats, capturing the warmth of the piece. The trio closes with “Dusk,” a perfect embodiment of the feeling of unwinding at the end of the day. But before the album ends, the brief “Penny,” serving almost as an epilogue, recalls the sentiments of “Dahlia” with a similar tone. It’s clear that someone in the group has fond memories of these two women.
At just half an hour, Okonski’s Entrance Music leaves the listener with a sense of bliss and an urge for more. The best instrumental music transports, and in this case, it’s truly entrancing.
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