| Jazz |
With Evanstonia, bassist and composer Sue Cahill delivers a beautifully crafted album that is both sophisticated and deeply engaging. Joined by pianist Dawn Clement and drummer Dru Heller, she presents seven original compositions that showcase not only her gift as a composer and bandleader, but also the remarkable chemistry shared by the three musicians.
From the opening title track, “Evanstonia,” the trio establishes a distinctive musical identity. Cahill’s warm and expressive bass lines provide the foundation for a conversation that unfolds naturally between Clement’s imaginative piano work and Heller’s sensitive, highly responsive drumming. The interaction is seamless, revealing a group whose members listen as closely as they play.
Each musician seems essential to the balance of the whole. Each intervention seems necessary, and this impression undoubtedly makes this album a great success.
“Blue Light” continues the journey with elegance and subtlety. The trio creates an atmosphere of openness and fluidity, with Dawn Clement’s harmonic inventiveness perfectly complemented by Sue Cahill’s melodic bass playing. Dru Heller’s understated rhythmic support gives the music both momentum and space to breathe.
On “Fading to Autumn,” the mood becomes more reflective. The composition unfolds with lyrical grace, allowing each musician to contribute thoughtfully to the collective narrative. The piece highlights the trio’s ability to balance individual expression with a profound sense of ensemble unity. The interaction between the instruments is remarkable and demonstrates a sophistication of writing which never sacrifices immediate emotion.
Other moments confirm the album’s qualities. “Violet Snow” introduces additional shades of colour and contrast. Clement’s piano lines sparkle with imagination, while Heller enriches the music with nuanced textures and impeccable timing. Throughout, Cahill remains the anchor, guiding the performance with confidence and sensitivity.
The lyrical qualities of the group are especially evident on “Serenata.” Here, the trio achieves a particularly beautiful balance between melody and improvisation. Each musician contributes with restraint and purpose, resulting in a performance of great emotional depth and elegance. Melody and richness of textures coexist with an obviousness that invites repeated listening.
With “Unpresidented,” the energy level rises. The piano and bass duo demonstrates its ability to navigate into a dynamic territory without sacrificing clarity or cohesion. The exchanges between piano and bass are both spirited and inventive. The piano does not intervene as a dominant voice but as an interlocutor who extends and reformulates the musical dialogue.
The album concludes with “June, February,” a track that introduces a new dimension to Evanstonia’s sound. In addition to her piano performance, Dawn Clement contributes vocals, adding a distinctly personal and intimate quality to the music. Her voice functions almost like a fourth instrument, blending naturally with the trio’s established musical language and expanding the emotional palette of the piece.
This final track will undoubtedly delight listeners who appreciate Dawn Clement’s vocal talent, as her singing brings warmth and expressive depth to the composition, but at the same time some listeners may find themselves divided. Indeed, after six outstanding instrumental performances, those who approached Evanstonia expecting a purely and inventive instrumental jazz trio album may be surprised by the appearance of vocals on the closing track. For some, this addition will feel like a perfect and moving conclusion; for others, it may slightly alter the character of the album they had come to embrace.
Ultimately, it is up to each listener to decide whether this vocal excursion enhances the album significantly or whether they would have preferred the trio to remain entirely instrumental. What is certain, however, is that the choice reflects the artistic openness and creativity that characterize the entire project.
Throughout all seven tracks, the complementarity of Sue Cahill, Dawn Clement, and Dru Heller remains one of the album’s greatest strengths. Their mutual trust, attentive listening, and shared musical vision allow each composition to unfold with natural grace and authenticity.
Evanstonia is a compelling and rewarding recording that confirms Sue Cahill as a thoughtful composer, a gifted bassist, and a leader capable of bringing together musicians whose collective artistry is greater than the sum of its parts.
For lovers of contemporary jazz that combines melodic beauty, subtle interaction, and emotional sincerity, Evanstonia is an album to own, to listen to… and listen again. Evanstonia is not just a new record release. It is a fully accomplished artistic statement from a composer who deserves much wider recognition, and whose work deserves the full attention of those interested in the actual contemporary jazz. Highly recommended!
Frankie Pfeiffer
Editor in chief – PARIS-MOVE
PARIS-MOVE, June 11th, 2026
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Musicians:
Sue Cahill: double bass
Dru Heller: drums
Dawn Clement: piano & vocals on “June, February”
Tracklisting:
Evanstonia – 3:30
Blue Light – 3:58
Fading Into Autumn – 5:20
Violet Snow – 5.56
Serenata 6:25
Unpresidented 3:43
June, February 5:10