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It's hard to imagine why Shearwater's Jonathan Meiburg was hiding behind the keyboards of Will Sheff's indie rock outfit Okkervil River. ROOK is all baroque grace and dramatic elegance, mining the near orchestral, dark caverns of chamber-pop masters such as Tindersticks. Meiburg's voice alone is a phenomenal instrument, rivalling Antony's (of Antony and the Johnsons) for its courageous delicacy, creating emotional space around the sometimes sparse instrumentation when necessary. There are also moments here that border on rousing in the vein of Arcade Fire; on tracks such as "Lost Boys," Meiburg channels David Bowie during a triumphant climax. Overall, ROOK sounds like a lost gem, overlooked in '80s vinyl bins between the Smiths and Echo and the Bunnymen, that has finally found a place in an often homogenous music scene.Spin (p.116) - 3.5 stars out of 5 -- "[C]anny tonal shifts give his introspective songs a bristling, heightened urgency."
Blender (Magazine) (p.76) - 4 stars out of 5 -- "[T]hey traffic in ornately orchestrated mini-epics powered by piano, horns, harps and Meiburg's high, piercing falsetto." Rook Review
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Recorded at Creation Audio, Minneapolis, Minnesota on May 14 & 15, 1996.
Recording information: Creation Audio, Minneapolis, MN (05/14/1996-05/15/1996).
Photographer: Jay Epstein.
Media Reviews:JAZZTIMES - "Long Ago". Drummer Jay Epstein leads an energetic, sometimes dark and eerie, 12-tune trio session with bassist Anthony Cox and pianist Bill Carrothers. While the threesome draws influences from the famed Keith Jarrett Trio, this is no copy-cat crew. Interacting intelligently and showing individual melody-based sensitivity, they refreshen the straightahead standards and two Epstein originals with seasoned artistry. Peak musical moments abound, especially Epstein's traps actions, to make this a unique and pleasurable listen. (Nancy Ann Lee)CADENCE MAGAZINE - "Long Ago". Jay Epstein leads a most adventurous piano trio session where Carrothers matches the lyrical abandon of Keith Jarrett in a stunning version of Kenny Wheeler's ballad "Heyoke." Epstein's brooding "Balloons Over Pain" shows how freely the trio can improvise; his atmospheric cymbals and Cox's arco join prepared piano in a performance that flows into a disturbing atonal version of "Keep The Home Fires Burning" as skewed harmonies bring to mind Ran Blake, while the final "I'll Be Seeing You," at ultra-slow tempo, conveys haunted intensity that ends in a spiral motif, a delicate moment of psychotic obsession very reminiscent of Blake. "Long Ago" showcases splendid rapport in the interplay of the title track, spirited contrapuntal exploration of Miles Davis's "Solar" and driving modal romp through Wayne Shorter's "Lost." The uptempo "You And The Night And The Music" showcases Epstein's command of complex rhythmic dynamics as his dazzling cymbal and snare work extends the lineage of Tony Williams and Jack DeJohnette. Cox is typically inventive as he structures compelling solos in "Orion," "Long Ago & Far Away," "Beautuful Love," "Lost," "You & The Night & The Music", and "Solar". Excellent musicianship combines with an imaginative program to make "Long Ago" highly recommended. (David Lewis)CITY PAGES - "Long Ago". When you're a drummer putting out your first trio record, you can't do much better than bassist Anthony Cox and pianist Bill Carrothers. But on "Long Ago", Epstein pretty well justifies the company with a solid outing that sweats the details. He splashes the cymbals like a couple of legendary Joneses--sometimes wet like Elvin, sometimes deft like Philly Joe--and engages his bandmates with a level of traditional craft and wistful poignancy that echoes ...
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