One may not suspect the existence of jazz in a place like Reno, Nevada, but I, for one, was aware that there was a scene present because I had relatives living there and spent time in this beautiful town-- a smaller-Las Vegas, but in a much lovelier location near Lake Tahoe and the Donner Pass into Northern California. My relatives lived in Sparks - where this album was recorded - and I have fond memories of some of the jazz music I saw while visiting there. Perhaps the biggest reason for jazz in the desert is the presence of the University of Nevada, Reno - of which all three members of this trio are members of the faculty. Saxophonist Peter Epstein, trumpeter Larry Engstrom and pianist David Ake are EEA and on this trio sans bass and drums, the music is - as you might expect - airy. But that is not to say it is unsubstantial as all three members are exceptional improvisers who have played with people like Ralph Alessi, Uri Caine, Charlie Haden and Ravi Coltrane and who have considerable experience collaborating with each other. This experience is invaluable as the three members work in synchronous fashion to weave a series of songs that stand alone, while flowing from one to the next to produce a compelling musical journey. The songs are mostly originals written by pianist David Ake, but there are three short, but rewarding group improvisations. Meanwhile, Egberto Gismonti's "Palhaco" is covered in a gorgeous take that is perhaps the centerpiece and a highlight, and the group takes on two deconstructed Duke Ellington pieces - "African Flower" and "Heaven." There is an ECM-like flowing feel with lots of space and reverberation - especially without bass and drums - but the strong technique and sensitivity of the players keep things from floating away into the ether on the hypnotic opening title track. The intricate counter-lines and unison playing on "Keystone" give the impression that one is listening to a larger ensemble and the unusual instrumentation means this group sounds like no other. Ake shows he is a force as a composer with assured and interesting pieces like "The Dark," "Keystone," "Polar," "Time Falls (Like Snow)" and "Birthday Boy," while all of the players improvise on a high order. An impressive and enjoyable debut.

EEA are a trio of jazz faculty members at the University of Nevada, Reno, consisting of saxophonist Peter Epstein, trumpeter Larry Engstrom, and pianist David Ake. The lack of additional rhythm instruments gives the players both plenty of freedom and responsibility, which they handle well. The trio's three group improvisations stand out with potent interplay, with the first sounding as if it could be used as a film soundtrack. Ake composed six selection, including the haunting ballad "The Dark," blending Epstein's soprano and Engstrom's trumpet in shining ensembles, as well as showcasing them individually, backing them with sparse chords. "Time Falls (Like Snow)" is also a somber, bittersweet affair, while the playful "Birthday Boy" bounds with seemingly endless energy. The trio also interprets two gems by Duke Ellington. The elegant "African Flower" (premiered on the famous Money Jungle album with Max Roach and Charles Mingus) features muted trumpet and also sax, retaining the delicate air of the original while taking it into new territory, giving it a bit of a darker flavor. "Heaven" is one of the less frequently played Ellington Works, but not for its lack of beauty; the trio's heartfelt arrangement shimmers.