Ron Thomas - Piano Steve Meashey - Bass Chris Loser - Drums Recorded 1/9/2014 at The Music Centre, Lionville, PA Recorded, mixed and mastered by Glenn Ferracone Produced by Richard Burton Vectordisc Records 029 Music can suggest colors. Music can suggest shapes. A type of synesthesia, a sensation of experience of geometrical images elicited by sound, exists. Sound waves transformed to shapes might result in, for funk, hard cornered triangles, squares, rectangles, octagons, sharp-pointed stars bursting from deep bass/drums grooves and pin-point guitar notes. Ron Thomas, on his previously-mentioned trio sets, created, with fluid sound, more spherical images, bubbles and ovoid and organic forms pulsing with liquid swellings shape-shifting into pliant amoebic forms. On the album, Impatience, with the aid of trio mates Loser and bassist Steve Meashey, the sound moves back toward the geometrical, given more to groove. Beginning with the Thomas original, The Red Carpet, named for the neighborhood jazz club where the pianist got his start, sitting in and breaking into the Philadelphia jazz scene in 1970. This is a finely-formed groove piece with the trio - Thomas at the top point on the triangle, his co-conspirator music-makers sitting in the bass points - engaging in spirited interplay. Thomas laying down some sharp angles inside an insistent shuffle. The CD's title tune is one of Thomas' most gorgeous compositions and is more geometrical than his previously recorded trio work, as Thomas smooths the edges and ninety degree corners into a pulsing, vibrant shapes with a deft and exquisite touch in front of his locked-in band mates. Drummer Chris Loser contributes two exceptional pieces. Makers of Fine, a celebration of sorts of Thomas' Philadelphia roots, sounds like three guys prowling dark byways under dim street lamps, wearing snappy hats and sharp suits, looking for action. Week 42 has a wistful, floating mood. And then a brief centerpiece, the Ave Maria Gounod-Bach tune, sacred music in its best form: joyful reverence suffused with a sense of awe and wonder to pull the originals and standards together, in another masterful, magical trio outing from Ron Thomas. Dan McClengahan , July 2014