|One Final Note Review Triptych Myth marks the debut of Cooper-Moore's piano trio of the same name, a New York-based group rounded out by bassist Tom Abbs and recently relocated drummer Chad Taylor. The tone of the entire record is set by the opening piece, "Stem Cell", which looks to Cecil Taylor's early trio with Denis Charles and Buell Niedlinger for its freewheeling inspiration. In fact, if it weren't for the group's brief migration to Trenchtown to co-opt the mellow shuffle of "The Fox", even the most astute blindfold test subject could be excused for mistaking this for a newly discovered Cecil or Lowell Davidson session circa 1963. Its vintage feel imagines a world where the last 40 years of jazz/improv piano innovations never occurred; and while that will most likely be a turn-off for those with more refined tastes, the energy and simplicity with which the trio infuses a fairly even mix of compositions and free improvisations make the disc a resounding breath of fresh air.
America teams Cooper-Moore with Assif Tsahar for a duo set that explores the complete range of both men's abilities in another well-balanced blend of composed and improvised material. Never one to shy away from controversy, Cooper-Moore assumes vocal duties on the opening title track, taking the U S of A to task over a menacing diddley-bo bassline while Tsahar's tenor howls in the distance. From there, the disc is a mixed bag of brilliant (the unlikely pairing of banjo and bass clarinet on "Back Porch Chill" and its country cousin "Beyond The Years") and ill-advised (Tsahar's dusting off of his acoustic guitar on "The Tortoise & The Buzzard") pieces as the duo sorts through various combinations of its arsenal. But the two versions of Cooper-Moore's "Lament For Trees" best reveal the true depths of his partnership with Tsahar, offered first as a rather straightforward piano/tenor ballad, only to be reprised three tracks later with C-M switching to diddley-bo for a passionately spiritual take reminiscent of Coltrane's "Alabama". Overall, the disc works surprisingly well for all of its wild stylistic variances—each track stands firmly on its own, yet connects to the others through the prevailing sense of honesty and nonchalance. ONE FINAL NOTE