I mentioned earlier that groups like this one bring something new and accessible to the table, and there’s no better example from Cowley than the opener for the show, ‘Monoface’ (from RADIO SILENCE). It opens in classical concerto style with a dark introduction by Cowley on piano, then Jenkins chimes in with a deep drum roll before Cowley returns in a style that wouldn’t be out of place on a movie soundtrack. It’s a beautifully lyrical piece with a powerful melody that weaves in and out of darker and much lighter moods. Cowell’s work is wonderfully expressive while Jenkins reveals his rock background, albeit with a fine and superbly judged subtety.

Cowley played for just under two hours and included compositions from all three of his trio’s albums, but majored on his new album, and I think I can understand why… RADIO SILENCE, to my ears, is a defining jazz album - more so than his previous work which has tended to combine other generic elements far more strongly. To state that his music is ‘jazz for the masses’ is underestimating and understating his achievement with RADIO SILENCE. Rather, it opens up this wonderful genre to lovers of other more mainstream musical genres in a way that doesn’t patronise but offers gentle progression through a keen sense of melody, and a generally lighter tone.

To this add an ‘openess’ in his performance style both in his playing and ability to converse easily, and humorously  with his audience - both traits clearly evident during the show. I usually try to identify ’special moments’ during  every show I attend, but I had difficulty with this one - every minute of the show was special. For example, I loved the way many of the songs gradually built from slow, quiet contemplation to rousing crescendos. I loved the controlled bass-line from Richard Sadler that hummed away in the background. I loved the same subte performance from drummer Evan Jenkins who, even during some mighty crescendos left space for Cowell’s piano notes to take pride of place - this is one unified band!

Song highlights? I loved ‘em all, however, some of the tunes from LOUD…LOUDER…STOP had me rushing to merch stand during the intermission to invest following a storming performance of ‘His Nibs’, and the mesmerising fragility of  ’Dinosuar Die’. Music is nothing if it does convey emotion, and Cowley delivered a complete set in semi-trailer loads.

I left the venue with the strong feeling that this trio is at the head of a particular jazz movement here in the UK that is capable of leading the world. My thoughts also wondered over to the following week when I’ll be experiencing first-hand, back at the Liverpool Philharmonic, another jazz style from two British world leaders - John McLaughlin on guitar and Mark Mondésir on drums - and taking with me a dedicated heavy metal fan who recently discovered Michael Bublé…