Paul Giallorenzo Trio at BOP STOP

BOP STOP, in partnership with New Ghosts, is excited to present the Paul Giallorenzo Trio.

Giallorenzo plays beyond the theme-and-variations format, happy to skip beyond the well-worn phrases of silky piano trios, ready to take the game in an oblique direction at every turn. Plenty of musicians have explored such areas: the jazz avant-garde evolved thanks to the legendary artists who “played outside.” Most of those musicians were adept at playing “inside” as well; it’s said that Ornette Coleman, for example, could sound exactly like Charlie Parker when he chose.

And today’s post-freedom musicians sometimes surprise ardent avant-garde fans with their mastery of music that they have supposedly jettisoned from their repertoire. But not so many artists can adeptly merge these approaches into one theory of mind, and such “inside-outside” musicians—the category that certainly includes Giallorenzo’s trio—are a separate gang....

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BOP STOP, in partnership with New Ghosts, is excited to present the Paul Giallorenzo Trio.

Giallorenzo plays beyond the theme-and-variations format, happy to skip beyond the well-worn phrases of silky piano trios, ready to take the game in an oblique direction at every turn. Plenty of musicians have explored such areas: the jazz avant-garde evolved thanks to the legendary artists who “played outside.” Most of those musicians were adept at playing “inside” as well; it’s said that Ornette Coleman, for example, could sound exactly like Charlie Parker when he chose.

And today’s post-freedom musicians sometimes surprise ardent avant-garde fans with their mastery of music that they have supposedly jettisoned from their repertoire. But not so many artists can adeptly merge these approaches into one theory of mind, and such “inside-outside” musicians—the category that certainly includes Giallorenzo’s trio—are a separate gang.

They infuse the tradition into their edgier romps, and vice-versa; more to the point, they inhabit both territories at the same time. So while the music in "Play" can grab the ear of musical adventurers, it also won’t frighten those just dipping their toes into this particular stream. These players find a middle ground—not by compromising the new or the old, but by elevating the virtues of each.

It’s not so easy to make music this demanding and yet so deceptively fluid. ... These performances arise from a combination of focus and intensity, dedication and rigor. But they sure don’t sound like “work.” Whether outside or in, the message remains the same: Play

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