The Actual Trio is a vehicle for the compositions of iconoclastic Bay Area guitarist John Schott (Junk Genius, T.J. Kirk). Bassist Dan Seamans (New Klezmer Trio, Lost Trio), and drummer John Hanes (Henry Kaiser, Victor Krummenacher) provide the foundation for Schott’s adventurous-but-accessible compositions, marrying deep pockets and joyful swing to wayward harmonies and spontaneous excursions.
Ranging from joyful tributes to Sonny Rollins, Lee Konitz and the Golden State Warriors to an anguished response to the 2016 election, the Bay Area’s Actual Trio's recent release "Act II" solidifies and deepens their singular identity. As with their Tzadik debut, the new album was produced by Hans Wendl, whose production credits include Don Byron, Charlie Haden, Ravi Shankar, and Bill Frisell, and recorded at Berkeley’s legendary Fantasy Studios.
About the Actual Trio, John writes: “I think trios thrive on independence and improvised conversation, so Dan, John and I always prioritize being in the moment and making it new. But we start from my compositions, which can get quite involved. My touchstones for this trio are Ellington in trio settings, Monk, Ahmad Jamal, and Horace Silver, while at the same time acknowledging that I play an electric guitar, not a piano. There is a much deeper tradition in Jazz of piano trios rather than guitar trios. The way they orchestrated their compositions, each instrument playing parts, each group having its own distinctive groove, placing the beat just so, voicing chords just so. The directness, the concision, the simplicity, and the pride of rhythm sections.” Fans who have followed Schott’s work in the groups T.J. Kirk, Junk Genius, and in projects by John Zorn, Tom Waits and Steven Bernstein will recognize the guitarist’s personal alchemy of blues, jazz, funk, and experimental improv.
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Ranging from joyful tributes to Sonny Rollins, Lee Konitz and the Golden State Warriors to an anguished response to the 2016 election, the Bay Area’s Actual Trio's recent release "Act II" solidifies and deepens their singular identity. As with their Tzadik debut, the new album was produced by Hans Wendl, whose production credits include Don Byron, Charlie Haden, Ravi Shankar, and Bill Frisell, and recorded at Berkeley’s legendary Fantasy Studios.
About the Actual Trio, John writes: “I think trios thrive on independence and improvised conversation, so Dan, John and I always prioritize being in the moment and making it new. But we start from my compositions, which can get quite involved. My touchstones for this trio are Ellington in trio settings, Monk, Ahmad Jamal, and Horace Silver, while at the same time acknowledging that I play an electric guitar, not a piano. There is a much deeper tradition in Jazz of piano trios rather than guitar trios. The way they orchestrated their compositions, each instrument playing parts, each group having its own distinctive groove, placing the beat just so, voicing chords just so. The directness, the concision, the simplicity, and the pride of rhythm sections.” Fans who have followed Schott’s work in the groups T.J. Kirk, Junk Genius, and in projects by John Zorn, Tom Waits and Steven Bernstein will recognize the guitarist’s personal alchemy of blues, jazz, funk, and experimental improv.
The Actual Trio is a vehicle for the compositions of iconoclastic Bay Area guitarist John Schott (Junk Genius, T.J. Kirk). Bassist Dan Seamans (New Klezmer Trio, Lost Trio), and drummer John Hanes (Henry Kaiser, Victor Krummenacher) provide the foundation for Schott’s adventurous-but-accessible compositions, marrying deep pockets and joyful swing to wayward harmonies and spontaneous excursions.
Ranging from joyful tributes to Sonny Rollins, Lee Konitz and the Golden State Warriors to an anguished response to the 2016 election, the Bay Area’s Actual Trio's recent release "Act II" solidifies and deepens their singular identity. As with their Tzadik debut, the new album was produced by Hans Wendl, whose production credits include Don Byron, Charlie Haden, Ravi Shankar, and Bill Frisell, and recorded at Berkeley’s legendary Fantasy Studios.
About the Actual Trio, John writes: “I think trios thrive on independence and improvised conversation, so Dan, John and I always prioritize being in the moment and making it new. But we start from my compositions, which can get quite involved. My touchstones for this trio are Ellington in trio settings, Monk, Ahmad Jamal, and Horace Silver, while at the same time acknowledging that I play an electric guitar, not a piano. There is a much deeper tradition in Jazz of piano trios rather than guitar trios. The way they orchestrated their compositions, each instrument playing parts, each group having its own distinctive groove, placing the beat just so, voicing chords just so. The directness, the concision, the simplicity, and the pride of rhythm sections.” Fans who have followed Schott’s work in the groups T.J. Kirk, Junk Genius, and in projects by John Zorn, Tom Waits and Steven Bernstein will recognize the guitarist’s personal alchemy of blues, jazz, funk, and experimental improv.
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Ranging from joyful tributes to Sonny Rollins, Lee Konitz and the Golden State Warriors to an anguished response to the 2016 election, the Bay Area’s Actual Trio's recent release "Act II" solidifies and deepens their singular identity. As with their Tzadik debut, the new album was produced by Hans Wendl, whose production credits include Don Byron, Charlie Haden, Ravi Shankar, and Bill Frisell, and recorded at Berkeley’s legendary Fantasy Studios.
About the Actual Trio, John writes: “I think trios thrive on independence and improvised conversation, so Dan, John and I always prioritize being in the moment and making it new. But we start from my compositions, which can get quite involved. My touchstones for this trio are Ellington in trio settings, Monk, Ahmad Jamal, and Horace Silver, while at the same time acknowledging that I play an electric guitar, not a piano. There is a much deeper tradition in Jazz of piano trios rather than guitar trios. The way they orchestrated their compositions, each instrument playing parts, each group having its own distinctive groove, placing the beat just so, voicing chords just so. The directness, the concision, the simplicity, and the pride of rhythm sections.” Fans who have followed Schott’s work in the groups T.J. Kirk, Junk Genius, and in projects by John Zorn, Tom Waits and Steven Bernstein will recognize the guitarist’s personal alchemy of blues, jazz, funk, and experimental improv.
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2040 Addison Street, Berkeley, CA 94704
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