Scripting The Flip (April 3, 2020)
A series of singles preceding Scripting The Flip’s release show the band’s ability to weave a multitude of strands into one coherent, distinctive fabric.
The first, “Animate Object,” is an intelligent blend of jazz, latin, and dance music. It’s unconventional and alluring, making it a perfect example of the group’s twist on acoustic-based music. “The world is a swirling collection of objects passing through space and time. As humans, we have our own orbits that intersect with others as we live in the world. ‘Animate Object’ explores the idea of different musical orbits coming together to create something unexpected,” says Stickley.
Inspired by the late night festival sets the Trio loves to play, where it often takes on a life of its own, “Don’t Slip” is the group’s dance anthem. “Overall this song is one of the most ‘us’ tracks we’ve ever recorded,” says Stickley. “It’s about the freedom to explore and get lost in the groove, and when it takes over, make sure not to slip!”
The third is a characteristically witty yet deeply rooted take on a bluegrass classic: legendary fiddler Kenny Baker’s “Bluegrass In The Backwoods.” Stickley adds, “The tune captures one of the coolest aspects of bluegrass: its ability to naturally incorporate other genres and styles. It’s easy to hear the influences of gypsy jazz, and even bebop in the phasing of the melody.”
These, with the album’s 8 other instrumental offerings, move through moods that evolve over the course of the album and even within the tracks themselves. More highlights include “Driver,” with guest banjoist Andy Thorn of Leftover Salmon, which reunites Stickley with a long-time friend and former bandmate in a slice of modern Colorado ‘grass, and the title track, “Scripting the Flip,” where intricately geometrical musical phrases act as a metaphor for this Trio’s aim, blending and extending a style rooted in one world but entering another.
In this way, the Jon Stickley Trio transcends the standards of acoustic music with a wide range of influences masterfully integrated into a signature approach. The collection sums up the Jon Stickley Trio: A three way collaboration expressing music that comes from the heart and the mind and speaks to both.
Listen to Scripting The Flip HERE.
Maybe Believe (May 12, 2017)
Riding the wave of their critically acclaimed 2015 album, Lost at Last, Jon Stickley Trio independently releases their 3rd full length album, Maybe Believe, on May 12, 2017. Jon Stickley Trio combines Jon Stickley’s rapid-fire flatpicking guitar with the sultry and wild, yet refined, melodies of Lyndsay Pruett on violin set over the deep groove of Patrick Armitage on drums.
“The latest record from the Jon Stickley Trio flexes new and strong muscles, utilizing more progressive structures and deeper pockets than ever before,” says Producer Dave King (The Bad Plus). “All the while, the group retains its place as a modern-thinking acoustic ensemble with one foot in tradition and the other in a bluegrass honored future that allows for the avant garde, punk, and bebop to mix in freely and tastefully.”
The album title, Maybe Believe, is a continuation of the theme from Lost at Last. With Lost at Last, the band was stepping away from their collective musical past, into new territory that was somewhat uncomfortable, but also inspiring and free. With Maybe Believe, they have become more comfortable in their own skin yet retain an element of vulnerability while continuing to move into uncharted territory. This album marks the next step in the band’s evolution, and takes the listener to original and unexpected new places that still embody the familiarity of the Jon Stickley Trio’s signature style. https://s3.amazonaws.com/trio-music/02+Playpeople.mp3
Lost at Last (October 2015)
Lost at Last was recorded in the band’s hometown of Asheville, NC at the iconic Echo Mountain Studios under the watchful eye of producer Dave King (The Bad Plus).
The New York Times’ Nate Chinen writes “… there’s hardy cohesion among the players — no less on the Gypsy standard ‘Valse de Wasso’ than on ‘Darth Radar’ a turbocharged original with a ska upbeat and a shredding melody. And when Mr. Stickley and friends turn to bluegrass, as on ‘The High Road,’ by Tim O’Brien, they sound both respectful and free.”
“With Lost at Last, the Jon Stickley Trio combine the ethos of a newgrass power trio with the energy and dynamics of a runaway train. Stickley’s powerful flatpicking gathers influences from the greats such as Tony Rice, but also allows for other, more modern, sounds to creep in. ‘Darth Radar’ is a rapid-fire take that moves from a serious ska beat to burning surf-style runs that would make Dick Dale proud.” —Premier Guitar, Jason Shadrick
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