The Rick Stone Trio's 'Fractals'
The Rick Stone Trio’s latest album, titled Fractals, is a combination of original compositions, new, distinctive flairs on old standards and is Stone’s first release in five years. Alongside Stone on his guitar is his regular group, bassist Marco Panascia and drummer Tom Pollard. In between teaching jazz guitar at several universities, the New York-based Stone performs regularly with Panascia and Pollard at local venues such as the Garage Jazz Restaurant and the Bar Next Door.
The opening track, titled “Stella by Starlight,” begins with smooth yet exotic guitar from Stone as Panascia’s bass folds in intermittently as Pollard’s drums appear in the background. Stone strums speedily on his guitar yet he maintains singular precision with each note. Pollard’s drums chime in every now and again as Stone’s guitar and Panascia’s bass all mesh together to form a dreamy tone. As the track continues though, Pollard’s drumming become swifter and more noticeable.
The title track is the album’s second track, which leads off with a guitar intro from Stone that some might feel has a techno-like bend to it. Pollard’s drums are faint yet sprightly in the background as Stone’s guitar rhythm becomes more melodic and he exhibits his adroitness on his instrument by accentuating particular notes.
“Key Lime Pie,” the album’s third track, is a bubbly samba number dedicated to the late jazz guitarist, Emily Remier. It starts off with playful drumming from Pollard and guitar play from Stone. Then, Panascia’s hushed bass can be heard in the background, its deep notes resonating despite their low volume. Yet, this track differs in that Pollard’s drumming takes the forefront, thus kicking the beat up a notch or two, making this one danceable ditty.
The fourth track, titled “Darn That Dream,” is initiated by a richly luxurious sounding guitar intro by Stone. The lushness with which Stone strums each guitar string could make listeners envision hearing this song as they enter an up-and-coming piano bar with its star pianist showing off his seductive side, Pollard’s drums and Panascia’s bass can be heard lightly in the background but then Panascia’s bass takes center stage, emphasizing even further its sheer sensuality. The entrancing pull of this track makes its title apt as it could musically signify its refusal to grant the listener a reprieve from a certain nighttime fantasy.
“Nacho Mama’s Blues” is the album’s sixth track. It leads off with dazzling guitar work from Stone and animated drumming from Pollard. Its infectious bluesy-beat might make listeners feel inclined to dance as Pollard’s drumming grows more vigorous.
The eighth track, titled “Places Left Behind,” commences with somber guitar play from Stone. The title is fitting because its rhythm could musically convey to listeners thoughts of locales of the past and their effect on the present. Pollard’s drumming is gentle in the background as Panascia’s bass gets a solo with Stone’s guitar and Pollard’s drums sporadically making their presence known.
“Ballad for Very Sad and Very Tired Lotus Eaters” is the tenth track on Fractals. It begins with Stone’s unhurried guitar work sounding a tad techno again, then trailing off. This beat could musically denote the title’s subjects, members of Greek mythology who inhabit a North African island replete with lotus flowers that cause them to drift into a state of lethargy. Listeners who feel down and out could relate to Stone’s sluggish guitar work and, while Pollard does make a lively drum splash at times, the overall gloominess of the track returns with Stone’s heavily subdued strummings.
To conclude, the Rick Stone Trio’s Fractals has both upbeat and sorrowful tracks that are sure to appeal to every type of jazz fan. But, whatever the mood of a particular track or a particular listener, Fractals is sure to bring forth dramatic emotions in anyone who listens to it.