Tim Richards Trio, Four Aces Review

By Stamish Malcuss

Four Aces (FMR Records, 2025) marks the fourth piano‑trio statement from veteran British pianist Tim Richards. The lineup is Richards on piano, Alex Keen on bass, and Daniel Howard on drums. The project originated from a chance street‑side jam during the 2022 lockdown and solidified through a three‑year residency at the Old Library Bar in London. That residency provided the developmental space for the material, giving the trio time to evolve from informal sessions to a cohesive artistic voice. The release was released on November 30, 2025, coinciding with a live launch at the same venue.

The opening pair of originals, “Four Aces” and “Metaphysics,” immediately displays Richard’s compositional style and the language of the trio.  The imprint of post-bop and hard-bop is the grounding force,  allowing the trio’s intuitive rapport to flow naturally. The rendition of McCoy Tyner’s “Atlantis” showcases Richards’ flowing piano style, supported by Keen’s bass lines and Howard’s conversational drumming. On the Brazilian standard “Wave,” the trio blends Afro‑Cuban rhythms with Latin Jazz. Richard and Howard have a strong rhythmic chemistry.

The trio’s interpretation of Kenny Barron’s “Sunshower” reveals a lyrical sensitivity. Richard’s voice leading is melodic, and Keen’s easy-going double‑bass solo adds depth to the texture. Selections such as Mary Lou Williams’ “Free Spirits,” Hampton Hawes’ “Sonora,” and Miles Davis’ “Solar” each receive spirited treatment. The common thread is the trio’s shared language and rhythmic style.

The album has multiple feels that the trio creates with clarity.  From the jaunty calypso “Island Hopping” and the soulful “New Cross Blues,” a composition born from the trio’s long‑standing Sunday residency, underscoring the group’s ability to fuse compositional craft with spontaneous interplay. “Lover Man” brings a jazz ballad touched with the blues, and “Free Spirits” and “Four Aces” bring the classic jazz groove.

Four Aces captures the lineage of a British piano‑trio that weaves together hard‑bop drive, post‑bop harmonic daring, and a dash of Brazilian and groove jazz. The trio’s interplay is conversational, with Keen’s bass lines expressing the foundations while Howard’s drums punctuate with the subtle modern jazz drumming. Richards’ solos glide between lyrical and angularity, demonstrating a command of the idiom that plays as reverent and forward‑looking. Across the twelve cuts, the group balances the canon with a fresh, collective voice, making Four Aces a compelling addition to any serious jazz listener’s library.