Some music is a climbing wall of sharp-edged abstractions. It challenges the listener: “Are you strong enough to take Me on?” And that can be its own kind of cerebral pleasure. Other music opens the door for you, gives you a hug, says, “We’ve been waiting for you! Would you like a muffin?”
The three people in my title are particular heroes of mine (and I am not alone). I met Pat in 2009 at The Ear Inn, Michael a year later at Sofia’s, and Gabrielle in 2012 in The Drawing Room. I haven’t made every gig they have had, but they are gracious people who make endearing music. And this is the CD I have been hoping they will make together. It is one quiet triumph of feeling and wisdom after another, all compressed into a little plastic disc with its own cardboard sleeping bag: such are the marvels of technology.
It took me some time to embark on this post, because I dislike hyperbole, but repeated playings make me confident to say that it is one of the most embracing musical offerings I know.
Here’s a sample:
Yes, you can buy it here, a signed CD for $15 USD or more. And it is streaming on all those services that stream music: you know their names by now. More details:
People who have heard Gabrielle sing, Michael or Pat play, will not need to be convinced. An additional pleasure is that this CD was recorded in the magical studios where Rudy Van Gelder made so much lovely musical sound come to our ears.
But the defining quality of this session is intimate, thoughtful lyricism. Intimacy is created over time, and these three musicians have worked together, traveled together, and become deep trusting friends: qualities that come through in the music. They aren’t jostling for the spotlight; they are a friendly musical co-operative. The selections on this disc, none hackneyed or predictable, are guided by intelligence both musical and emotional. Each of the three knows what the song means — it isn’t just a set of changes or a place to outdo previous recordings or other singers. A song becomes a compact drama, its emotions respected and shared. What I call lyricism isn’t restricted to any one of the trio: Pat O’Leary’s double bass sings its songs as does Michael Kanan’s piano. And with Gabrielle singing the words and notes, we have a genuine artistry: the marriage of passion and focus.
I played I WALK A LITTLE FASTER a few days ago for a musician who didn’t know the members of this trio, and he was silent when it ended, saying only, “She has such a gorgeous voice.” That’s true: Gabrielle’s instrument is a marvel: her resonant tonal variety, her ease all through her range, her lovely sound. But a beautiful voice is like a Stradivarius in its case if its owner is not musically and emotionally wise — as Gabrielle is.
Other CDs have the heavy imprint of someone else’s “vision,” a producer adding Oreo crumbs and sprinkles to what would have been far more beautiful left alone; or, there’s a theme: a tribute to X or songs written by Y. With BEAUTIFUL MOONS AGO, I hear the serene maturity of artists who know that if they let the song guide them and they don’t attempt to make it into something it wasn’t meant to be, delicate memorable art will result. As it does here.
I urge you to listen, to purchase, to tell your friends. Once you hear it, you won’t forget it.
May your happiness increase!
JAZZ LIVES 
GAH!!! THANK YOU SO MUCH!!!!