When word first came out in June, 2025 of a Nels Cline/Craig Taborn/Marcus Gilmore summit meeting type of project, anyone familiar with these musicians works knew that this is a collaboration that cannot fail. And indeed, the advance single that came out in early July showed that kind of promise for the threesome dubbed the Trio of Bloom. Now with the whole album upon us, Trio of Bloom (September 26 2025, Pyroclastic Records), we see the realization of David Breskin was hoping for when he put these three musical masterminds together.
Trio of Bloom brings out the randier side of all three, but not so much that any focus is lost but the looseness allows for more of the juice to get squeezed out of the fruit and more of the talents often hidden from each of them come into sharp relief. There weren’t a whole lot of ground rules set for this supergroup; each brought compositions but also a cover a piece. There’s not really any history among them but they nevertheless quickly settled on their very own vibe.
This vibe gets installed from the start: Gilmore undertakes the tasks of establishing the foundation of the Ronald Shannon Jackson song “Nightwhistlers,” a rolling, relentless beat that Cline & Taborn roam freely around. That classic Cline swagger is here in full glory and Taborn’s chunky electric keys serves as Cline’s partner in crime, as they both get deeper into the psychedelic ether.
Cline takes a rare turn on bass for an early Terje Rypdal number “Bend It” (“Queen King” previously covered here was another occasion), this time riding with Gilmore on his “Shhh/Peaceful” groove where Cline’s guitar and Taborn’s keyboard exchange barbed phrases. “Forge” is another tune Cline recycled from his Nels Cline Singers’ Initiate LP, a dark slow burner that gradually works up to a screaming frenzy. Gilmore is a real difference maker, running off the leash while Cline and Taborn watch up the noise to a squall.
The discriminating jam concept the Trio of Bloom advances is most extreme on the dub-heavy “Bloomers,” a group improv that needs ten minutes to run its course full of trippy peals, a subtle key change and a shifty, circular rhythm.
Taborn, Cline and Gilmore are all the rare musicians who are elite technicians who can create ethereal soundscapes that require more imagination than chops, and the pepper this album with several, shining examples. One such occasion is “Unreal Light,” but as that song gains traction, the musicianship comes out all the same. “Diana” is an underappreciated Wayne Shorter gem that appeared on his Native Dancer collaboration with Milton Nascimento. The three give a respectful rendering, portraying the same hyaline beauty using different tactics like a celeste (Taborn), loops (Cline) and specially tuned toms (Gilmore). Taborn’s balletic piano is the focal point for “Breath,” but Cline and Gilmore provide the ideal accompaniment, making this a graceful stroll through the clouds.
“Why Canada” is a 180 from the single or two chord vamps, an abstruse, dense statement intense enough to justify keeping it short and tidy. “Eye Shadow Eye” is a three-part suite from Cline that begins with tender fretwork from the composer accompanied by organ while also spotlighting Taborn’s piano. A bluesier mood paces the second section and ending with a brief, satisfying coda.
“Gone Bust” is a vivid burst of sonic energy that brings the whole thing to a sudden end. Too sudden, perhaps, because Trio of Bloom never sees any dips in interest: The constant, ‘going for the jugular’ posture uncorking one unexpected thunderbolt after another keeps open-minded listeners wanting it to keep going.
Pre-order/order Trio of Doom from Bandcamp.
*** Nels Cline CD’s and vinyl on Amazon ***
*** Craig Taborn CD’s and vinyl on Amazon ***
*** Marcus Gilmore CD’s and vinyl on Amazon ***
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