Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Mario Pavone’s Dialect Trio: Philosophy (Clean Feed)

A review of the third album from the bassist-led group

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Mario Pavone's Dialect Trio, Philosophy
The cover of Philosophy by Mario Pavone’s Dialect Trio

Mario Pavone places the airiest ballad next to the feistiest rocker on his new Dialect Trio album, and the shifting temperament between “Circles” and “The Beginning” is a telling synopsis of the group’s intentions, as well as a revealing snapshot of the disc’s rhythmic landscape. The band uses a jeweler’s eye to conflate abstraction and swing, beveling the key elements that balance the veteran bassist’s cagey pieces. Pianist Matt Mitchell and drummer Tyshawn Sorey are deeply aligned, as they were on Philosophy’s predecessors, Chrome and Blue Dialect; the propulsion they generate in cahoots with the leader’s aggressive string work gives everything a kick. 

Melodies come and go in this music. Pavone’s pithy themes—like the scrawled bop of “8-18-18” or the cool jaunt of “Two Thirds Radial”—present themselves and then take a powder, leaving room for the flexibility central to the trio’s mission statement. Feathery maneuvers by Sorey morph to finessed aggression. Mitchell’s parade of skittish inversions often yields focused pronouncements. The strategies they share on “Everything There Is” propel a tightrope walk, each new improv choice (tom-tom rumble, splashy upper-register trill) paving the way for the next. It would be an apt soundtrack to the daredevil moments of Man on Wire, James Marsh’s portrait of World Trade Center acrobat Philippe Petit.  

The takeaway here is pliability, as it so often is in Pavone’s work. This is an outfit obsessed with dynamics, in the business of triggering switcheroos and proud of its ability to dodge repetition. What’s dissonant one moment is consonant the next. Delicate musings give way to declarative skronk. It would be a blast to hear a playlist of combined tracks from Andrew Hill’s Strange Serenade, Misha Mengelberg’s Who’s Bridge, and Paul Bley’s Footloose! mixed in with Philosophy’s jittery jewels. Suggested title: Freebop Fantasia.

Preview or download Philosophy on Amazon!


Subscribe today to JazzTimes magazine and receive reviews, industry news, profiles and much more!

Jim Macnie

Jim Macnie is a music writer who contributes to DownBeat and blogs at Lament For a Straight Line. He’s been working in digital media since since 2000, initially as’s Managing Editor and, currently, as a Senior Producer and Editor at Vevo. He enjoys Little Jimmie Dickens, Big Joe Turner and Medium Medium.