Avoiding the demarcations enforced by an instrument to produce music not resembling anything remotely influenced by that means comes extremely easy to drummer Harris Eisenstadt. The material he wrote for September Trio avoids indulgence within flashy percussive techniques – he never does indeed – being instead oriented towards the reflective side of things. An album for which the adjective “autumnal” might come handy not just because of the group’s name, both partners in this venture contributing to the affirmation of a refined kind of pensiveness. Ellery Eskelin’s tenor explores moods where not a note is mislaid and not a scream is released, yet there is no way to call that sound “smooth” in view of the significant multiplicities of internal meanderings generated by those probings. Angelica Sanchez is a quintessential romantic rationalist, able to permeate the most convulsively clustery parlances with idealistic suggestions running parallel to her modern conception of the piano keyboard’s intrinsic palette. Eisenstadt, having gained respect at the start with a demonstration of compositional maturity, underlines the whole with slender elegance and precious understatement, caressing the drumset’s various parts with the same tenderness of a lover looking at the sunlight’s aura glowing upon the partner’s head.