The One Constant (Unmastered Edition)

In this forward-looking re-imagining of the classic piano trio form, pianist-composer Danny Fox and his ensemble create vivid sound pictures that evoke a wide range of musical moods. This special unmastered edition was sourced from the artist’s original approved final mixes. - Mark Werlin

The first album by the Danny Fox Trio (formed in 2008), The One Constant introduced a distinctive voice to the jazz public.The One Constant (Unmastered Edition) is an exclusive NativeDSD release in Stereo DSD 512, DSD 256, DSD 128 and DSD 64. For this title we have assembled the original unmastered mixes, presented without peak limiting, compression or any other mastering or processing. The result is much more dynamic, transparent, spacious and timbrally pure. It fully benefits from NativeDSD’s Higher Rates Program.  These pieces don't sound like conventional jazz tunes: they have fresh melodies with interesting harmonic twists and unusual forms. The band honed its interpretations collaboratively, and the clarity, detail and meshing of the three voices are impressive; the improvisations flow out of the composed material organically, and the roles of each musician are varied creatively from song to song. The music's staying power may be related to the contrast between the energy and cohesiveness of the group dynamic and its darker emotional undercurrents. According to Danny, "Most of the pieces have a searching quality to them that springs out of my own process of self-discovery. This takes on a new dimension when the three of us begin working on the piece, as we are searching for something together.” A Harvard graduate with a major in neuroscience, Danny was largely self-taught as a musician. "Monk was certainly a big early influenc. I’m especially inspired by groups like Miles’s 60s quintet, the Coltrane Quartet, etc., where you can really hear everyone searching for a personal sound, both individually and collectively. At Harvard I was surrounded by a staggering diversity of people, cultures, and ideas, which fostered an open-mindedness and willingness to draw from many influences. When I moved back to NYC I began studying with (classical pianist) John Kamitsuka. Having worked on some of the more fiery Scriabin etudes, I found myself searching for darker sounding chords. Listening to Messiaen (one of my favorite composers) opened my ears up to ways of making dissonance sound beautiful. Also, in terms of composition and structure, I began to notice how great composers are able to extract so much music from a few strong, even simple ideas. They take a motif and create an entire world out of it. This commitment to an idea is something I try to apply to my own compositions as well as to my improvisation. In terms of structure and development, I usually build the pieces around a couple of themes such that any given section will relate to the ones around it. In the long-form ‘Drama King’, all four sections are based on either the triplet figure of the first melody or the shape of the C half-diminished chord that prevails throughout the first section, or a combination of the two.”

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Danny Fox- piano Chris van Voorst van Beest - bass Max Goldman- drums