It is always exhilarating to hear the upright bass harnessed as a melodic instrument to the extent that Ilya Osachuk does on his delightful debut album. It is even more satisfying when it is in a piano trio (or perhaps, bass trio in this case) format, as the bass is allowed more space to breathe in the higher registers, and there is infinite potential for musical interplay. It helps even further then, that the trios on this album are just about the tightest and most dynamic on planet Earth. Piano duties are shared by Tyler Henderson and Donald Vega, with drums provided alternately by Kai Craig and Billy Drummond.

Osachuk’s intricate, labyrinthine original works are a joyful listen, particularly when played with such clarity and verve. The rhythmic hits on Lviv Perspective are incredibly lively without ever once masking the melody, which itself brings to mind the Geri Allen Trio with how seamlessly all the mini-sections are weaved together; moments of pure synchronicity between bass and piano occurring organically yet also selectively. February and its intro have their own music video, which among other things offers an incredibly moving glimpse into the moments of real quietude in the studio, particularly leading out of Osachuk’s spellbinding solo, when there is a glance shared, a head nod, but that second of true silence also finds a profound moment of rest. It is a beautiful thing when music can afford to do that, fill the air with an abundance of gestures that all come together perfectly, and then catch its breath.

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