Roger Mitchell(4 stars)

It must be the year of the trio. Greg Coffin's trio produced great depth and clarity with 'It's Neither Or. It's Both And.' Now Bassist Michael Story's compositions are expressed powerfully by Daniel Farrugia (The Bamboos) on drums and Luke Howard (FGHR) on piano.

There is so much of interest here that the title seems an ironic challenge. Often Howard's languid, lilting notes hang in space over energetic, full-bodied rhythms built by Story and Farrugia, only to be awakened briefly.

Dissonance is noticeably absent, with intensity created through shifting moods, altered rhythms and introspection.

Like a slow story well told, 'You Broke Me' expresses resignation, then refusal to give in and finally emergence to crystal clarity. Brief 'Beach Interlude' is a deliciously angular, percussive trip into inner space. The piano's lyrical beauty shines in 'Song for Rach' and on 'Black Booty' its elegiac mood lifts into swing.

Can we listen to more? Yes, we can.

Melbourne's Sunday Herald Sun 12/04/09

Steve Roberston

Attention Manfred Eicher: No need to get a European bassist/composer to lead your next release on the ECM label. It’s already been done, here, in Melbourne.

Michael Story, a New Zealander now happily ensconced on our shores, has created a body of work that stands shoulder to shoulder with the best releases by (mostly) European bassists, names such as Arild Andersen, Eberhard Weber, Anders Jormin, Dave Holland and Marc Johnson. The shared quality is lyricism and deeply satisfying melodic flow. Here surely is an object lesson in how intensity can be focused in inward-looking music of enduring beauty.

So You Want More (a statement, not a question) offers nine obviously composed pieces, two short and apparently spontaneous interludes and the final track, a long and ruminative piece which suggests a cross between The Necks and a Keith Jarrett concert improvisation. The work even contains one of Jarrett’s almost patented rubato moments that grows artfully in intensity. If this was indeed a composed work, it hints otherwise with its very spacious of-the-moment flow.

The CD’s opening track, 11 Days, displays Michael’s rich, full bass sound. You Broke Me is exceptionally lyrical, Luke Howard’s superb piano work elevating him towards the ranks of the best European masters like Bobo Stenson and especially Enrico Pieranunzi. There is a delicious folk song quality to several tracks here, You Broke Me and the lovely Her Smile especially.

The CD’s title track recalls some of the pioneering lyrical works of pianists like Russ Freeman and Paul Bley. From a very minimalist base, irresistibly it grows in intensity and passion over its 7 and a half minute length.

It’s not all ruminative: Black Booty has an open, funky, earthy feel and City Loop, which starts out all dark and insistent, then evolves into a Latin-tinged romp you could probably dance to, if you wanted. Koala Boy is a fusion interlude that allows drummer Daniel Farrugia to shine.

Not to stretch this ECM analogy too far, but Song For Rach could easily have come from the next CD by the wildly popular Tord Gustavsen Trio. Like Tord’s group (and the Swedish trio EST), this is a very democratic trio that works because the three players interact so effectively. These three genuinely listen to each other, so there’s a unity of purpose here that is lacking in some similar projects.

More please.

Steve Robertson was host of Jazz On Saturday on PBS-FM and has written on jazz topics for many years in Australia and the USA.