Trey Wright is a new name to the contemporary jazz scene of the 2000s coming from the heart of Georgia, but he's one to pay close attention to. His style might be influenced by past greats, but is hard to exactly pin down, as he freely discourses on original themes that exude a certain warmth and charm that already brand him an individual. With the exceptional bassist Mark Miller and drummer/producer Marlon Patton, Wright offers little in the way of blatant derivations or cliches on these ten selections that all speak to the heart and soul of his experiences in a refreshing manner that few other guitarists achieve out of the box. Stylistically, he's much closer to peers like Stew Cutler or Joel Harrison than Pat Metheny or Kurt Rosenwinkel, yet Wright has a keen melodic sense not dominated by effects or histrionics. This is generally low-key music with careful constructs and a sense of confidence that belies the muted volume levels Wright prefers. A consistent recording with few extended themes, some very edited, the trio also interprets some unexpected material such as Chris Cornell's "Blow Up the Outside World," turned into a modal, crystalline, insular, slightly angular but fully romantic song. Thom Yorke penned "Analyse," turned by Wright and the trio into a constructive lazy afternoon tune with more spaces than notes. Patton's "Monty's Joyride" has a touch of country music splashed in a 7/8 pacing that more honestly reflects a contemporary, cross breeding guitarist that Harrison or Bill Frisell might favor. Wright's own compositions, while pleasant, command interest and intrigue, as "Rat Race" moves from lean multiple time signatures without being frenetic, "Quad" is breezy and cool, bright and spare without being cold, and "We'll Get There Some Day" sports a submissive melody line, giving itself up gladly. There's a fluid ease to Wright's playing, where nothing is demanding or forced, yet the urgency in the music is deep within, but never overstated, bold or obvious. Miller in particular is a joy to hear, especially on any of his deft and lucid bass solos. Here, musicality trumps flash and bling, an aspect of modern-day electric guitar playing others could take a lesson from. This quite credible, satisfying, and often impressive outing from Trey Wright should gratify listeners enough to anticipate what his next recording might offer.