Last updated: February 22, 2006

Press Quotes

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"The Lynne Arriale Trio is putting the heart back into jazz"

"Lynne Arriale's brilliant musicianship and bandstand instincts place her among the top jazz pianists of the day."

"Perhaps her finest CD filled with the sparkling clarity that graces her music."

"This may well be the best group you'll hear all year"

"Arriale is a rarity among pianists today, commanding airplay with her trio recordings. Growing media attention and a sophisticated sense of melody allows her to reach both aficionados and the casual jazz listener, making Arriale one of the more talked about artists in jazz. She has a profound sense of wonder at the ways in which a melody can be dissected and reassembled. Each track is notable for the way in which the trio finds new wrinkles in the most familiar of melodies."

"...Arriale creates singing melodies of great depth, beauty and interpretation."

"A powerhouse! A singular voice as a pianist and leader. Arriale's playing is haunting, gorgeous - a breeze of warm sophistication and accomplished pianism with expressive passion and intelligent interpretation. She has a knack for finding a song's heart."

"One of the most exciting pianists in contemporary jazz! Arriale can make music that is ravishingly beautiful. Her glistening left-hand melodies, rich harmonic palette and gift for flowing extemporization bring to mind the crystalline lyricism of Bill Evans and Keith Jarett. The sinewy Come Together and samba-tinged Braziliana demonstrate that Arriale and her long-serving trio can play with real vim and vigor. Undoubtedly one of 2005's best new jazz records."

"Even people allergic to jazz respond to her music. Arriale's blissful embrace of easily hummable music continues to win her admirers. It also makes her something of a rarity. She is a serious player who combines intelligence and technical ability with a welcoming sensibility"

"There's great innovation in this group! The trio revealed its unmistakable class as a chamber ensemble. She proved with great talent, how to let the sound ring, as if listening into its core. Her fingers sing soundscapes of perfect beauty. A true virtuoso."

"Lynne Arriale fronts an impressive power trio. She pinpoints a song's power, majesty, and soul simultaneously."

"Arriale's ascent to front-runner status is surely achieved. One of the most intuitive pianists combining head with heart, her improvisations are tethered to a tangible, hugely melodic treasury. Their three-way communion is a model of rapport and their solos disarmingly superb. They are hands down winners and serve as a template for jazz piano trios. Arriale has indeed arrived!"

"Her original compositions will blow you away"

Celebrity Caf&eaute;

Lynne Arriale's candid approach to piano playing speaks volumes. Everything here is in equal proportion: uniformly smooth and penetrating tone, technique galore, and a harmonic sense that's sophisticated.

"...unrivalled emotional depth!"

"Lynne Arriale is dynamite!"

"The finest American trio on the loose at the moment. ...Arriale's eye for unusual material keeps it dazzingly fresh, while the original numbers are no less seductive."

"A new star shines on the jazz firmament. Lynne Arriale is an exceptional talent whose luminous tone and superlative melodic flair combine with her own musical vision informing the frequent creative surprise of her work. An ebullient performance and a miraculous flow of ideas from Arriale, this is a great album."

"Few recordings touch the soul. Lynne Arriale's keen sense of melody renders her music far more passionate than most. Stunning piano work - the trio has obviously attained the level of communication paramount to all great threesomes. While her technique is expert, it never dilutes the emotional impact of her music."

"A superb performer and one of the most lyrical new players in the Bill Evans - Keith Jarrett tradition, she is one of the genuinely creative pianists in jazz. Her trio is now more than a match for Jarrett's."

"Lynne Arriale Trio touches the heart and excites the soul. She also burns and offers solos filled with complexity and surprises. "Arise" was heartfelt and magical. Compared to the legendary McCoy Tyner and the abstract Danilo Perez by patrons, she turned out to be the most accessible of them all."

"Her music is instantly engaging and accessible... one of the most intellectual, introspective and insightful players on the current scene, bringing a flawless touch, an impeccable sense of complex rhythms and a harmonic curiosity to everything she attempts. In the best sense, she is a popularizer, playing with a subtle but insistent urgency that gathers power. It draws you in and catches you."

JazzTimes

"A superb talent with an imaginative gift for improvisation, she seems completely at one with the stream of ideas that flow through her fingers. The seemingly nonstop abundance of Arriale's imagination, exquisite touch and an understated but pro-pulsive drive were distinct evidence of a major talent."

Los Angeles Times

"If you take Wayne Shorter's tunes, or Herbie Hancock's, those are great melodies. They stand alone. So do the originals on Arriale's newest album."

Irish Times

"This sound comes straight from the spirit. Arriale displays a devotion to melodic and harmonic nuances that many artists today ignore. After she proves that a beautiful melody can stand alone, she adds layers, twisting and turning lines as if reflected through a prism. Arriale holds the audience spellbound"

"The musicians seemed to be inventing out of a shared metabolism … Keith Jarrett minus the angst."

"Can you really teach jazz? In the space of three hours, Arriale laid my mind to rest. She possesses that rare gift of reducing complex and intangible issues to inspirational basics."

Articles

Trio Plays With a Shared Metabolism

Boston Globe

"Some piano trios are all about the individual virtuosity of their members or focus on complex, iconoclastic arrangements. Lynne Arriale's trio gives primary place to group empathy. The communication she shares with longtime drummer Steve Davis and frequent bassist Jay Anderson produces interpretations of familiar themes that glow with a sense of proportion and coherence that is all the more effective for being so uncommon.

"Time and again during the trio's opening set at Scullers, one sensed shaping hands that valued complete statements over momentary flourishes. Tempos and dynamics evolved organically, choruses swelled and settled, yet a strong rhythmic pulse ensured constant strength and momentum. At times the music seemed to be played in the air without ever suggesting directionless drift. The musicians had worked together enough to sense where spontaneous accents would fall and seemed to be inventing out of a shared metabolism.

"Arriale's style is thoughtful and lean. She coaxed ideas from the keyboard rather than attacking it, and sustained contrast by moving from brisk, quizzical patterns to terse rhythmic variations. While her faster solos mined a familiar vernacular, the phrases were inevitably well placed, and her ballad readings of ''Estate'' and ''The Nearness of You'' were awash in thoughtfully conceived melody. Anderson and Davis, superb musicians who suggested the capacity to dazzle with virtuosity had they so chosen, each took a more selfless approach. The bassist turned in excellent solos, with just enough technique to spice his warm, melodic conception and never played two notes in support where one would suffice. Davis employed a quiet physicality that made each stroke a visual experience and extracted every conceivable texture from his kit.

"What stood out more than individual contributions was the way Arriale's trio sculpted each tune into a distinctive entity. Chick Corea's ''Tones for Joan's Bones'' was stated in alternating arcs of swing and lyricism, Bobby Scott's ''Feelin' Good'' became a quietly intent African processional, and Thelonious Monk's ''Bemsha Swing'' surrounded a funky underlying beat with passages of playful free-form. Most intruiging of all were the vamp endings that allowed Arriale, Anderson, and Davis to extend ''Feelin' Good,'' ''Estate,'' and ''Beautiful Love.'' These were seductive reveries that served the music rather than calling attention to themselves - Keith Jarrett minus the angst and the sense that a good thing had been taken to wearying extremes. Then again, knowing just how much is enough may be Arriale's greatest strength." Bob Blumenthal, The Boston Globe

The London Times - Saturday, March 15, 2003

FIRST NIGHT

Duc des Lombards, Paris

Clive Davis

LYNNE ARRIALE creates difficulties for reviewers: how to find fresh superlatives for a pianist who maintains such extraordinarily high standards?

There is a handful of jazz pianists that I would gladly listen to all night long. Those master craftsmen Ahmad Jamal and John Bunch immediately come to mind. Arriale makes three. Somehow, even after a decade-long run of outstanding trio albums, the flamed-haired American improviser still tends to be overshadowed by the more fashionable New York names. British audiences are warming to her nevertheless, and she will be returning to the UK this year for the London Jazz Festival.

Her Paris show, which kick-started another European tour, was an opportunity to eavesdrop on her new album, Arise, released towards the end of this month. Having signed to an innovative new label, Motéma, Arriale continues to blend thoughtfully sculpted original tunes with an ingenious sprinkling of cover versions. As ever, her delicate touch and unabashed love of melodic lines turns them into her own private property.

In the past I have made the mistake of underestimating her ever-assertive drummer Steve Davis. At the Duc des Lombards, a smallish nightspot near Les Halles, the drum kit perched just a few feet from my seat, there was no ignoring the inventiveness of his playing with a scarcely a bebop cliché to be heard. With Larry Kohut punctuating the dialogue with spare bass lines, the conversation never flagged.

Arriale herself is not afraid of unfurling simple, hymn-like melodies that, in the wrong hands, might sound sentimental. Arise, inspired by the events of 9/11, possesses a fragile beauty. Her sunny but never lightweight cover of the Beatles' tune, Blackbird, is said to have made an impression on Paul McCartney himself.

The Sunday Times (UK)

Culture

Sunday March 23, 2003

Lynne Arriale Trio

Arise

Motema MTM 71372

3 stars

Something of a latecomer to jazz - classical piano studies consumed her energies at first - Lynne Arriale has never made any secret of her debt to Keith Jarrett. It says something for her gifts as a lyrical improviser that her music - taut, melodic and self-disciplined - regularly puts his Standards Trio in the shade. Arise is another winner. Arriale's eye for unusual material keeps repetition at bay: American Woman and Egberto Gismonti's Frévo are both dazzingly fresh, while the original numbers, including the exhilarating Esperanza and Upswing, are no less seductive. The indefatigable Steve Davis on drums and bassist Jay Anderson complete what is, for my money, the finest American trio on the loose at the moment.

UPI Review

By Ken Franckling

From the Life & Mind Desk

Published 4/1/2003 10:49 AM

Pianist Lynne Arriale has just released her newest -- and perhaps finest -- CD. It's a trio session called "Arise" that showcases the chemistry of her decade-old group with bassist Jay Anderson and drummer Steve Davis.

She is a wonderful player and arranger who wrote four of the nine tunes for the project, which is filled with the sparkling clarity that graces her music.

It also is a perfect fit for the new San Francisco-based Motema Music label. In Lingala, a language from Congo and Zaire in central Africa, "motema" means "heart."

The CD has much to offer in the breadth and range of material. The title track, "Arise," is an uplifting ballad of hope and promise.

Arriale, interviewed during the final leg of a month-long European tour that began in Paris and zigzagged through Germany, Switzerland, Austria and Ireland, said she originally called the tune "For the Heroes" after Sept. 11, 2001.

"But I extended it in my mind to everyday heroes, who go the extra mile, who stay open despite the challenges in this new world," she told United Press International.

Tunes very much related to the CD theme include her own Spanish-tinged "Esparanza," which means hope, "Upswing" and "The Fallen," which has a very somber melody.

Her other gems include reconstructions of Egberto Gismonti's "Frevo," Bill Withers' "Lean On Me" and the old Guess Who hit, "American Woman," which originally was a war protest tune -- if you listened closely to the pop lyrics rather than the catchy melody.

Arriale's rearrangement of the latter tune is so artful it is not apparent what the tune is until she's nearly done with it.

"The melody stays the same, but the grating, raunchy bass line changes the feel," she said.

As an explorer of music and a writer of songs, the Indiana-based Arriale has one overriding principle.

"Music is an international language that transcends boundaries and cultures, " she said. "I want to find music that transcends boundaries on a heart level."

Arriale was the 1993 winner of the Great American Jazz Piano Competition. Her trio will bring its music to South Carolina and Charleston's acclaimed Spoleto Arts Festival. Additional performances will be in: Iowa; Bloomington, Ind.; Ann Arbor, Mich.; St. Paul, Minn.; Louisville, Ky.; New York; California; Boston and Montreal on spring and summer tours.

"There are full houses every where we play. Everyone is coming out to hear music," she said. "We're really happy that we're reaching audiences.

"I was lucky to meet Steve and Jay. If you experience life together, it just deepens over time. We play music without boundaries, without category. No matter whether it's Herbie Hancock, Monk, Bernstein or Sting, people resonate to melody. It stays in our tune choices.

"Every day, every performance is different. Everything is constantly changing because of life's influences. The light switch is always turned on. These guys give 100 percent, and are immersed and engaged in the music. It is something beyond musical competence. There's an energy and color the audience can pick up on," Arriale said.

Arriale feels right at home at her new label, Motema. Her manager, New Yorker Suzi Reynolds, is head of Artists and Repertoire for the new venture. Its founder, San Francisco-based singer Jana Herzen, calls her venture an "artist-driven label."

"At a time record companies are not doing well, or suffering economically, they are doing something special," Arriale said.

Motema signed Arriale after Herzen first heard her perform at the MIDEM international music conference in Cannes, France, in January 2001.

"Though she played the piano and not a sound came from her lips, I had the distinct impression that I was watching a singer," Herzen said.

Herzen chooses her artists the same way Arriale selects the songs she plays and writes. It depends whether they come from the heart and affect her deeply.

New York Times

"Lynne Arriale's, brilliant musicianship and bandstand instincts place her among the top jazz pianists of the day. Even though there are hundreds of superb pianists residing today in the jazz world, the major recording labels would like you to believe that only a handful really matter. In recent years the high-profile publicity and marketing campaigns trumpeting thirty-something ivoryists Brad Mehldau and Jacky Terrasson, for example, has effectively shadowed the work of many of their peers, and detrimentally so. After all, the traditions and vanguards of jazz are actually carried on the backs of many, and not just a few, artists, regardless of the notions that Ken Burns and others proffer.

"One of the sparkling entities to be found in the penumbra of the chosen few is Lynne Arriale, whose brilliant musicianship, ebullience and bandstand instincts certainly place her among the top instrumentalists of the day. Like so many jazz musicians, though, her talents and accomplishments are grossly under-appreciated here in the United States. Being a woman (and not a singer, still a drawback in the genre even in our so-called enlightened, post-feminist age), a nomadic existence by trade and the lack of major label support all contribute in obscuring her merits as an artist.

"Arriale's CD, Live at Montreux, is a real treasure and ample proof that she is worth regarding closely. Listening to Live at Montreux it occurred to me there was no overall thematic framework or gimmick attached to the music. It wasn't a songbook collection either; and there were no special guest stars flown (or phoned) in to lay down solos. It's just a wholly enjoyable album that finds an artist in the spotlight with a carefully chosen program of music. Take from the album what you will--consciously or not, this is what seems to be the ethos here, which, in my mind, is always the best compliment an artist can give an audience. The last song on Live at Montreux, the show's encore, is a rendition of "An Affair to Remember," which Arriale plays as a riveting solo that could work as the soundtrack for a breaking heart." NY Times

Irish Times - Thursday, March 20, 2003

Lynne Arriale Trio

Review by Ray Comiskey

Coach House - Dublin Castle

According to a doubtless tongue-in-cheek Oscar Wilde, consistency is the infirmity of lesser minds. When the Lynne Arriale Trio opened their Music Network Irish tour at the Coach House on Wednesday, they demonstrated, yet again, that consistency is one of their virtues, and that it's not accompanied by infirmity or any evidence of diminished mental faculties. Poised, polished and professional, they offered the kind of bop-influenced mainstream piano trio music that, in the hands of musicians as good as this, wears its age well.

It was also, as anyone who knows Arriale's music, highly melodic and suffused with concern for structured development. It's based on a repertoire of familiar standards, laced with some not so familiar, one or two jazz staples, some originals by the leader and even a Lennon/McCartney song, Blackbird. And the group's emotional range extended from beautifully played ballads, on which it was possible to savour the pianist's exquisite touch and sense of note placement, to almost euphoric Latin pieces and uncompromisingly driven up-tempo performances.

The music was also carefully and thoughtfully structured; just how much is not altogether easy to say, because the kind of empathy displayed by the leader, bassist Jay Anderson and drummer Steve Davis was breathtaking at times. And they have also developed little cues which they use individually to tip off the others about solo endings and arranged passages.

The first set was notable for the trio's impressively nuanced control of dynamics, especially on the out choruses. Standouts included a rapturous performance of the gorgeous Estate, a savoury exploration of the seldom played Beautiful Love, an ingratiatingly witty It Don't Mean A Thing If It Ain't Got That Swing, and a deceptively simple, heartfelt exposition of her own ballad, Arise, whose lovely harmonies sounded like they were suggested by the melody, not the other way round, as too often happens with jazz originals.

The best, however, was reserved for the second set. Thelonious Monk's Bemsha Swing had an exhilarating sense of discovery about it as they shook some seasoning of their own over this thoroughly idiosyncratic composition; and despite what they added to it, the original flavour stubbornly refused to go away - a compliment to both the piece and the trio's inventiveness and sensitivity.

But if anything caught another dimension of the group - the sheer poetry that Arriale and her colleagues are capable of - it was a moving exploration of The Nearness Of You, with one of Anderson's best solos of the night. Arriale, following on, gave a classic example of her ability to use motivic development to sustain a solo which was, in effect, a gorgeous piece of storytelling with a beginning, middle and end. One to savour.

Piano Trios and All That Jazz

Irish Times

Although trained in classical music, pianist Lynne Arriale was seduced by jazz in her 20s. Now, for her and her trio, the melody comes first, writes Ray Comiskey.

Finding melodies is the biggest challenge of all," says Lynne Arriale. She was speaking of her engagement with the art and craft of composition, but she might also have been describing her own work as a jazz pianist. As one of the most melodic players around, she's emphatic about the importance and primacy of melody.

It's one of the qualities that distinguishes her in a diverse, high-calibre field. Jazz piano, where abundant technique and acute harmonic knowledge are merely tools to start the job with, is not for the faint-hearted. A penchant for innovation or the radical may help, sooner or later, to attract attention; for the long haul, however, you have to match it with musical substance.

Yet it's more difficult to express individuality by working, as she does, within the accepted conventions of bop and the related elements of post-bop piano. It calls for a patient, diligent refinement of the craft, rather than any grand gestures. Behind it is the hope or, if you're lucky, the confidence, that you'll find your own voice, as she has done.

En route, she has been often compared to one of the greatest of all jazz pianists, the late Bill Evans, but it's difficult to detect any sign of this in her playing; she has said that her lines were never like his at any stage. In fact, detecting any jazz pianist's influences in her work is hard.

Was this because she was classically trained, didn't go near jazz until she abruptly switched in her 20s, and therefore brought no jazz baggage with her? "Well, actually that might be part of the situation," she agrees, "but when I first started out, the first five years I sounded like I was imitating Cedar Walton - you don't hear that now - and Gene Harris for a while, and then Thelonious Monk a little bit.

"And later Keith Jarrett was an influence, but more than listening and saying, 'Oh, God, what is that?' Because with Keith, I mean, his melodies are so - there's such a purity, he doesn't play clichés. On a conceptual level, he's a great influence because you never hear him doing the same thing. So I thought to myself , 'Oh, my God, that's a whole different way of approaching it'."

Jarrett is notorious for singing as he solos. It can be heard on just about every piano recording he's done; and though Arriale can plead not guilty here, it gave her an idea she has used ever since, even with her students .. Convinced the originality of his lines comes from singing, she started singing away from the piano during practice time.

It's not an outlandish idea. In scat singing - wordless, improvised vocals of the great Louis Armstrong and Dizzy Gillespie - the phrases they create are vocal clones of their trumpet playing, stamped with the unique fingerprints of their creative personalities.

"When you sit and sing a solo away from your instrument," she explains, "it cuts through everything you may have practised. Now, you've got to practise, obviously, but when you sing I think it takes you to your unconscious mind much more readily. And then when you play, all of a sudden you're playing things that you didn't even practise - and where does that come from?" Another huge influence is pianist Richie Beirach, whom she calls a mentor, teacher and friend. "What's been most influential is his explaining to me about motivic development, taking an idea like" - she hums the famous opening to Beethoven's Fifth - "and learning how to develop it.

"And I still continue to work very hard at that, because the motivic continuity, of taking a seed and letting it sprout and grow, and developing it musically, is a tremendous challenge. It's not just about playing like, you know, long lines and lots of licks. It's about telling a story, beginning, middle and end."

Her own musical story began when she was four. Classically trained, she got a degree in piano performance at the Wisconsin Conservatory of Music before being suddenly seduced by jazz in her early 20s. And that demanding, show-me-what-you-can-do world sat up and took notice when she won the International Great American Jazz Competition in Jacksonville, Florida 10 years ago.

Although she has worked on various projects since then, her natural home is the piano trio. That seems unlikely to change. She likes its capacity to combine intimacy and flexibility, to have an orchestral sound and yet be capable of quick changes of direction. "The extent to which we stretch the music is just only limited by your own imagination," she says.

Her present trio, formed in 1999 with bassist Jay Anderson and long-time colleague, drummer Steve Davis, is probably her finest yet. She compares it to a relationship that has gone on a long time, where the chemistry is present and the relationship has therefore, inevitably, deepened. So how do they keep staleness at bay? "If you look deeply into the eyes of the person that you love," she answers, expanding on the relationship comparison, "and you just are kind of quiet in your own mind, and just look at them and listen to the sound of their voice, and listen to them speaking and what they're saying, it cannot become stale. If you are truly present with each other I don't think you have to come up with ways of keeping things fresh, because every person on the planet is constantly changing, moving and growing. "And it's the exact same thing in music. Yes, I bring new material to the group, and we're always adding things, but by the same token, musicians have a way of saying - in fact I've heard Jay and Steve say this about each other - Steve will say, 'yes, Jay is always here to play', and Jay will say the same thing about Steve 'he's always a 100 per cent present and accounted for and right there'.

"In other words, he's not distracted. He is completely at one with the music and tuned in to the other members of the group. It's like we're just locked up. It's like the laser beam just kind of connected us all. And if that happens there's no way it can go stale."

Piano trios with a chemistry like hers have been likened to musical conversations. Typically, she has her own slant on the analogy which, she says, is so often taken to mean a conversation of straightforward statement and response, or question and answer. "It's not like that in our trio, because if we're waiting for the response we're not in the flow of the music.

"I'm going to change the analogy," she adds. "You have three people looking out of a window at a beautiful setting. One person says, 'Oh, my God, these trees are absolutely gorgeous', and another person's saying, 'Yeah, look at those leaves, the beautiful shading of those leaves'.

"Now, they are listening to one another, but also reacting to the scene. These people are actually absorbed in it, so they're kind of hearing the person talk, but they're also just so absorbed in it that they're having their own response at the same time. And there's this kind of cloudy thing going on where you're not just fixated on the object. You're hearing what the other people are saying, peripherally almost, and you're responding to it."

It's a perfect description of the way her own trio - and similarly inclined groups, no matter how radically different they might be in other ways - works. What it doesn't say is the rigorous craft, won the hard way, that supports the chemistry and the creativity.

And Arriale works at it. Apart from her distinctive approach to playing, for her as a composer the melody comes first.

She doesn't fall into the trap - that so many jazz musicians do - of hitting on a chord sequence that might be attractive to improvise over and then finding some kind of original line to lay on top of it to serve as a tune. The pieces that result generally lack real character.

"They couldn't stand alone," she agrees. "However, if you take Wayne Shorter's tunes, or Herbie Hancock's, those are great melodies. They stand alone." So do the originals on her newest album, Arise, which were written in response to 9/11. But we will probably be able to confirm that, and much else besides, when she opens her tour in Dublin next Tuesday.

New Yorker Magazine

Best Jazz Albums of 2002

Issue of 2003-01-13

Posted 2003-01-06

What keeps a song in a jazz musician's heart these days is anyone's guess. The past few years have seen the major labels all but turn their backs on the genre: the high-profile buzz of Ken Burns's 2001 documentary never translated into solid sales increases, nor has the hunger for all things American spread to our own classical music. Yet jazz has weathered slumps before (older players still remember the pop-infested sixties and seventies with a shudder). For the most stolid of contemporary jazzmen and women, judging from some of the finer recordings released this year, solace seems to reside in the bedrock of melody.

Lynne Arriale, "Inspiration" (TCB)ÑThe pianist Arriale, who forthrightly titled a 1999 album "Melody," knows the value of something that's too often overlooked by improvisation-worshipping jazz fans: a great tune. This lyrical player and her sharp-eared trio embrace the songcraft that links Keith Jarrett's "So Tender" to Burt Bacharach's "A House Is Not a Home," and Abdullah Ibrahim's "Mountain of the Night" to Lennon and McCartney's "Blackbird."

Female Musician - March 2003

www.femalemusician.com

Lynne Arriale Arise:

Talk about a lady whose got chops! Check her out! Lynne Arriale has her keys under passionate control. Arise follows her cd , Inspiration, which hit #1 on U.S Jazz Radio in 2002. From traditional covers to new compositions, Lynne's trio is a complete compact jazz package. Familiar melodies blend into swirls of variated themes, leaving one saying "I know this song,........ but do I?". Emotions pour as Lynne treats her best friend, the piano, to a meticulously arranged song selection. Bassist Jay Anderson captures a great bass tone and shows off his personality in the rock classic, American Women, when he breaks into a playful solo. Drummer, Steve Davis, displays tasty breathing space in every tune. Break open the wine , cook your favorite meal, set the tone for a romantic evening, and make sure the Lynne Arriale Trio is spinning in your disc player.

The Celebrity Café

3/3/03

http://thecelebritycafe.com/cd/full_review/398.html

Lynne Arriale: Arise

Lynne Arriale - Arise

Lynne plays piano so well it's a sin she's not more widely known. There's a difference between playing the piano like it's Muzak and by playing it interpretively. Her original compositions will blow you away, while her version of "Lean on Me" is unique, innovative and creative. This is the perfect album for relaxing and driving or for a romantic dinner.