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Ambitious concepts in jazz can sometimes collapse under their own weight. Fortunately, New Stages from the Mark Wade Trio does the opposite.
Instead of feeling like a lecture on classical adaptation, the album plays like a fluid, imaginative jazz suite that draws centuries of music into the trio format. Double bassist Wade is joined by long-time pianist Tim Harrison and dynamic drummer Scott Neumann, as they transform orchestral works, piano miniatures and sacred pieces into a cohesive 72-minute statement that is both scholarly and swinging.
New Stages opens with a reimagining of Debussy’s Children’s Corner Suite, distilled from six piano movements into four trio explorations. Wade’s arrangements capture the whimsy and color of the original while allowing the trio to stretch rhythmically. The highlight arrives in “Cakewalk,” where Debussy’s playful melody collides with a sly nod to Thelonious Monk. It’s an inspired bridge that reframes impressionism through a modern jazz lens.
“Saga,” drawn from Sibelius’ Violin Concerto, demonstrates Mark Wade’s knack for reduction without losing drama. What was once an 80-piece orchestral landscape becomes a slow-burning trio piece rich with melodic tension. Harrison’s piano lines and Wade’s bass carry the grandeur with remarkable economy.
Chopin appears twice. “The Storm,” based on a prelude in D minor, abandons a steady groove for freer improvisation, reflecting the Romantic rubato that defines Chopin’s music. Elsewhere, Wade turns Chopin’s Waltz in A-flat (Op. 69) into an unexpectedly energetic jazz feature—proof that the trio isn’t afraid to push the material into new territory.
“Iberia” (Part 1 and Part 2) is one of the album’s most inventive hybrids, weaving Joaquin Rodrigo’s Concierto de Aranjuez, hints of Rimsky-Korsakov, and a touch of Chick Corea’s Spanish-tinged jazz vocabulary. Wade even adapts the concerto’s guitar cadenzas for bass, giving the piece a distinctive voice.
Elsewhere, Wade mines deeper classical corners. Maurice Duruflé’s Requiem is arranged as a six-movement suite, balancing lyricism and rhythmic complexity. Perhaps the boldest choice is “Lament,” inspired by Henryk Górecki’s Symphony No. 3. This is a haunting modern work rarely touched by jazz ensembles. Wade honors its emotional weight while giving the trio space to explore its somber themes.
The album closes with a familiar melody: Bach’s “Jesu, Joy of Man’s Desiring.” Played with the relaxed charm of a Vince Guaraldi-style trio groove, it serves as the record’s most accessible moment—and a satisfying landing point after the album’s wide-ranging journey.
Recorded live in the studio at Oktaven Audio, the trio has a chemistry developed since 2013 that’s evident throughout. The performances feel spontaneous yet carefully shaped, balancing composed structure with improvisational freedom.
New Stages succeeds because it treats classical music not as a museum piece but as raw material for jazz creativity. Wade’s arrangements honor the originals while proving they can live comfortably in a piano trio setting. The result is sophisticated without being stiff. New Stages rewards both curious jazz listeners and classical fans alike.
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