This is an imaginary conversation that never took place between the pianist Richie Beirach and a well-known jazz critic.

Critic: What did you say?
Beirach: I said today is one of the good days!
C: And why is this such a good day?
B: Well, since September 11 any day that you donīt get blown up is a good day.
C: And?
B: And today I am listening and writing notes for my good friend Timīs new trio recording!
C: Listen, Iīm sure this CD is wonderful, but do we really need another jazz trio record?
B: Yes, we do, now more than ever.
C: Arenīt there already too many great trio records?
B: No.
C: Look, the jazz piano trio tradition is very well documented and basically played out as a viable, contemporary format, donīt you think?
B: No, I don't.
C: Please explain.
B: A format will always seem played out until a new talent comes along with a fresh pair of ears and an open mind. And guess what - the format suddenly undergoes a remarkable transformation!
C: Really?
B: No, not really. Formats donīt undergo transformation, we do!
C: Huh?
B: Right! Listen, a format is a bottle, o.k.?
C: How is a format a bottle, please?
B: The music is the wine. Get it?
C: By the way, what does any of this have to do with Timīs music? These are supposed to be the liner notes for his CD? Right?
B: Yes.
C: So, please explain why this half-assed pretentious and, even worse, boring pseudo dialogue you are writing should be any place but the toilet?
B: Because Tim is a real musician, and he actually is trying and at times does transcend the history and limitations of the format forward and, more importantly, in his way!
C: Well, that was quite a mouthful!
B: What?
C: You should think about breathmints, is all Iīm saying.

This is Tim Sundīs sixth recording as a leader and the thirty year old jazz pianist shows how much he has developed during this period. The recording is focused primarily on new and very personally creative rearrangements of five well-known jazz standards. Since most of Timīs other recordings focused on his original compositions, this musical journey is particularly interesting because of the familiarity of most of the pieces. The reason to record standard material is, hopefully, to allow the listener an opportunity to have a clear frame of reference, so he can more fully appreciate the imagination and expression of the artist. It also provides the musician with a very clear frame for his picture.

This is a real trio record, not a leader with back-up accompaniment. The level of contributions by Michael and Martin can not be overestimated. Tim is the clear leader but he is also an excellent listener, allowing the drummer and the bassist the space and freedom to conceptually raise this CD above every-day, run-of-the-mill, decent jazz piano trio recordings.

The title "Trialogueē in this case suggests that special kind of interior musical conversation that is always happening in this type of music. Even though there are five standards there are also three compositions by Tim and four jams of pure spontaneity entitled "Trialoguesē. These miniature group improvisations balance out beautifully the meticulous and carefully constructed arrangements. Itīs almost as if these four improvised pieces were the result and distillation of everything that the three learned crafting those arrangements.

Tim studied with me on and off between 1993 and 1997 and is now my friend and colleague. Iīm one of the people that trained him and therefore Iīm also one of the people who can feel the rewards that go with seeing one of your trees bear fruit. This is an important recording for us, the audience, as well as for him, the artist. This is his breakthrough recording! Heīs finally beginning to find and hear his own voice in the jazz language and the world of creative music. This is truly group music played by individuals. "Blue in Green", a very important, simple ten-bar ballad composed by either Miles Davis or Bill Evans depending on who you talk to, is one of those brief but intensely reflective jazz haikus, a miniature novel in one sentence. Listen to the expression of these musiciansī view of the world through this ballad. Tim has transferred the whole piece into 3 / 4 time and has also taken aspects of its harmonic rhythm and further personalized them in this version.

"Hidden Rhapsody" is a complete deconstruction and, more importantly, reconstruction of the old standard "I hear a rhapsody". The extreme reharmonisation and the redistribution of rhythmic phrasing of the melody combine together to make this one of the most creative arrangements in my recent memory. Further, Tim went beyond just dealing with the melody. He has created both a new harmonic foundation and a new rhythmic approach. This creative arrangement is also carried through into the improvisation, which makes the transformation of this tune complete and delightfully surprising.

"When will the blues leave", written by Ornette Coleman, is one of the most universally performed and recorded blues themes in jazz history and has captured the imagination of musicians like Paul Bley, Chick Corea and Keith Jarrett, among othersŠ and now Tim Sund. This is an extremely spontaneous and joyously burning version! Tim plays here with the kind of pure abandonment that comes from having the confidence to let oneself be carried away without giving up control over the details of craft. The simple triadic and childlike nature of the first few bars combined with the striking angularity of the last half of the melody has caused sparks to fly everywhere. Here is also a good place to mention a word about Michael. Those of you who donīt already know him will now become familiar with his elemental fire and taste. Michael is one of the real underground motherfuckers in the world of jazz drums. He kicks Timīs ass while at the same time providing great support and warmth. His musical taste is impeccable. Yo, Bro!

Young jazz artists of today face a difficult and cynical market made up of mega-corporations owning and controlling large record companies and the international jazz festival circuit.
We need this music now more than ever before.
Enjoy this music!
And Tim, I say to you: Well done!

Richie Beirach
April 7, 2002