In an era where modern listening spaces are increasingly dominated by ambient noise, sports broadcasts, and compressed digital playlists, the traditional jazz organ trio occupies a treasured, if endangered, corner of musical history. Once the vibrant sonic engine of neighborhood music halls and urban lounges—where the Hammond B3 player handled simultaneous bass duties via foot pedals while a guitarist or tenor saxophonist soared over a deep, grooving drummer—the format has largely receded from public consciousness. Yet, the timeless configuration of guitar, organ, and drums finds a brilliant, forward-thinking revitalization in the collaborative mastery of guitarist Peter Bernstein, organist Larry Goldings, and drummer Bill Stewart.
With their August 7, 2026, release, Rhombus (via Smoke Sessions), this elite ensemble redefines what an organ trio can achieve. Eschewing the conventional, predictable funk-blues workouts that often define the genre, Bernstein, Goldings, and Stewart approach the format with the intellect, sensitivity, and broad vocabulary of a modern chamber jazz group. Rather than merely nodding to the heritage of masters like Jimmy Smith, Jack McDuff, or Larry Young, the trio applies the organ-guitar-drums configuration to unexpected, challenging material by towering modern jazz composers: Wayne Shorter, Keith Jarrett, Abdullah Ibrahim, and Thelonious Monk.
The result is an exquisite masterclass in listening, balance, and reinvention. Rhombus proves that deep thinkers of contemporary jazz can inhabit a classic vessel and steer it into uncharted, sophisticated waters. By blending the soulful, earthy pulse of traditional organ combos with the probing, intellectual harmonies of post-bop and 1970s exploratory jazz, Bernstein, Goldings, and Stewart have delivered one of the most compelling instrumental releases of the decade.
Detailed Chronology
A Three-Decade Synergy
To fully appreciate the nuanced artistry of Rhombus, one must look at the deep-seated history shared by its members. Individually, Peter Bernstein, Larry Goldings, and Bill Stewart have been active, heavily recorded pillars of the international jazz scene since the early 1990s. Each is widely celebrated as a master of his respective instrument: Goldings stands among the elite tier of Hammond B3 organists; Bernstein is revered as one of the definitive post-bop guitarists of his generation; and Stewart is a perennial "first-call" jazz drummer known for his immaculate time-keeping, melodic cymbal work, and interactive framing.
While each musician has enjoyed an illustrious career working alongside jazz royalty—collaborating with artists ranging from Jim Hall and Maceo Parker to John Scofield and Pat Metheny—their chemistry as a unified trio is uniquely potent. Over decades of sporadic live engagements and studio dates, they have developed a rare telepathic communication. On Rhombus, this synergy manifests as an intuitive, collective consciousness where no single voice dominates at the expense of the whole. They are less an "organ trio" in the colloquial sense and more a cooperative of profound musical thinkers.
Reinterpreting the Modern Masters
The primary triumph of Rhombus lies in its daring, unconventional repertoire. The trio systematically tackles complex compositions that were historically written for—and famously recorded by—percussive acoustic pianists or horn-led configurations, translating them seamlessly into the organ-guitar-drums lexicon.
The album opens up imaginative pathways with Wayne Shorter’s "Penelope," a composition originally recorded in 1965 for the Blue Note album Etcetera. Shorter’s original writing is a masterclass in harmonic mystery and elusive phrasing. In the hands of Bernstein, Goldings, and Stewart, the tune becomes an exercise in light and shadow. Bernstein interprets the melody with a pure-tone legato style, while Goldings treats the Hammond B3 not as a roaring wall of gospel chords, but as a hushed, atmospheric hum. Stewart supplies rhythmic support in delicate pastels, particularly beneath Goldings’ crystalline improvisation. When Bernstein re-enters with the head, the ensemble lifts the composition with subtle dynamics, evoking the gradual breaking of dawn.
This remarkable sensitivity permeates the entire tracklist. Keith Jarrett’s "Everything That Lives Laments," first captured on the 1971 piano trio album The Mourning of a Star, is initially honored in its rubato balladry before gently blossoming into a swaying, subtle Brazilian rhythmic pulse. Similarly, "Momma" bears the unmistakable, evocative thumbprint of South African pianist Abdullah Ibrahim, balancing structural simplicity with deeply soulful, gospel-inflected touches.
Swinging, Cooking, and Honoring Tradition
While the album leans heavily into impressionistic beauty and intellectual exploration, Bernstein, Goldings, and Stewart never lose sight of the inherent joy, swing, and blues-soaked vitality of the organ trio format.
The Irving Berlin standard "They Say It’s Wonderful" begins at a gentle, unhurried lope before steadily evolving into a confident swinger. The performance showcases a wide-ranging, exploratory organ solo by Goldings that builds in intensity, seamlessly handing the baton to Bernstein for a bopping, agile guitar workout. True to Thelonious Monk’s famous advice—never to forget to play the melody—Bernstein repeatedly circles back to Berlin’s tastiest melodic cells, grounding the improvisation in the song’s DNA.
Monk’s own catalog is visited via an uptempo rendition of "In Walked Bud." Taken at a brisk, refreshing pace reminiscent of a river swollen by sudden rainfall, the track features an exceptional drum solo by Stewart, who similarly approaches his kit with a fierce dedication to the underlying melody.
The album’s two original compositions—Goldings’ title track "Rhombus" and Bernstein’s "Dissipation Blues"—serve as the connective tissue between modern jazz exploration and down-home organ trio tradition. "Rhombus" utilizes cool harmonic changes and a memorable theme delivered in bright, parallel harmony by the guitar and organ. Conversely, Bernstein’s "Dissipation Blues" leans directly into the classic call-and-response dynamic of vintage organ joints. Here, the trio cuts loose, swapping licks, trading accents, and reminding listeners precisely why this classic instrumental configuration has captivated audiences for generations.
Supporting Context & Metrics
The Evolution of the Jazz Organ Trio
To understand the cultural weight of Rhombus, one must examine the lineage of the jazz organ trio. Pioneered in the post-World War II era by innovators like Wild Bill Davis and popularized immensely during the 1950s and 1960s by giants such as Jimmy Smith, Jack McDuff, Don Patterson, and Richard "Groove" Holmes, the organ trio was the lifeblood of urban American nightlife. The Hammond B3 organ, equipped with a Leslie speaker cabinet, allowed a single keyboardist to supply both rich chordal accompaniment and thunderous basslines via foot pedals. When paired with the blues-drenched guitar styling of players like Grant Green or Kenny Burrell, and anchored by a swinging drummer, the sound was earthy, accessible, and profoundly funky.
As jazz evolved through the fusion era of the 1970s, the blueprint expanded. Landmark recordings like guitarist John Abercrombie’s Timeless (featuring Jan Hammer on keys and synths, and Jack DeJohnette on drums) demonstrated that the electric blend of guitar and keyboard could absorb the daring, exploratory ethos of rock and avant-garde jazz. Later, legendary units like Larry Young’s work with the Tony Williams Lifetime and the generational torch-bearing of masters like Joey DeFrancesco further stretched the boundaries of the genre.
Critical Reception and Streaming Metrics
Rhombus arrives at a time of critical reassessment for acoustic and modern jazz. In contemporary music markets, where algorithm-driven playlists often segregate jazz into "ambient study music" or "retro nostalgia," releases like Rhombus challenge listeners by demanding active, focused engagement.
Initial critical consensus highlights the album’s rare ability to bridge generational divides. Jazz journalism outlets and audiophile reviewers have praised the album for its pristine engineering—courtesy of Smoke Sessions’ dedication to warm, room-resonant acoustic spaces—and its fearless deconstruction of the organ trio canon. On independent music platforms like Bandcamp, the title track and "Dissipation Blues" have quickly climbed genre-specific charts, signaling robust engagement from both lifelong jazz purists and a younger demographic of musicians studying advanced harmonic interaction.
Official Statements
While the trio lets their collective musicianship speak most eloquently on the record, reflections from the artists and contemporary jazz critics underscore the philosophy behind Rhombus.
Reflecting on the intentionality of the project, contemporary jazz critics have noted that Bernstein, Goldings, and Stewart operate under a unified creative manifesto:
"Bernstein/Goldings/Stewart are better understood as a contemporary jazz group of deep thinkers rather than merely an ‘organ trio.’ Every player is renowned as a sensitive listener who makes the band greater than the sum of their parts."
Discussing the textural interplay between the guitar and the Hammond B3, reviewers have frequently underscored how the trio subverts expectations. Rather than relying on deafening volume or relentless blues shuffles, the group prioritizes space, nuance, and dynamic restraint:
"Goldings’ organ is more a hushed hum than any set of chordal accompaniment. Stewart plays in subtle pastels, particularly during Goldings’ exceptional improvisation… When Bernstein reenters with the melody, his bandmates lift the song in small ways, suggesting a breaking dawn."
Furthermore, the band’s embrace of modern jazz history has been heralded as a vital educational and artistic statement. By applying the organ trio format to the intricate compositions of Wayne Shorter and Keith Jarrett, the ensemble effectively rewrites the rules of engagement for small-group jazz in the twenty-first century.
Future Outlook
As Rhombus establishes its footprint across global jazz radio, streaming platforms, and specialized vinyl markets, its long-term impact on the contemporary jazz landscape looks exceptionally bright. The album serves as a masterclass for up-and-coming instrumentalists, proving that historical genres do not need to be locked in amber to be preserved; rather, they can be continually revitalized through deep intellectual curiosity, peerless technical execution, and profound listening skills.
Looking ahead, the success of Bernstein, Goldings, and Stewart’s collaborative effort may well inspire a broader renaissance for sophisticated small-group jazz configurations. As audiences increasingly seek out authentic, highly interactive human musicianship in an increasingly automated digital landscape, the nuanced interplay of guitar, organ, and drums feels more vital than ever.
May the organ trio format—elevated to these lofty, thoughtful heights—live on indefinitely.
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