Even without the reprises of Schumann's ‘Chamisso’ and Parker's ‘Scrapple From The Apple’, Hays’ leaning towards classical music and astute exploration of its relationship with jazz are writ large on this very palatable album. The sheen of his chords, wily shifts in harmony, spry latin grooves and expansive improvisations in even and uneven meters enliven a number of the original compositions on offer, and Hays’ strong personality is clear from the outset. His solos often unveil fleeting melodies that embellish a song without, crucially, being so florid or overwrought as to disrupt the overall ambiance. Drummer Joseph and bassist Jost prove to be suitable partners, mostly for their smart alternations of emphasis and restraint. This kind of needle's eye sophistication is deeply rooted in small group history and Hays applies appropriate structural quirks well, none more so than excising notes from a central theme, making it artfully cryptic without losing momentum or elegance. Along with the likes of Russ Lossing and Edward Simon, Hays may sadly have slipped under the piano trio radar given the fact that the field is already so densely populated, but this album shows exactly why he should show up much more frequently.