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Gerald Clayton is the piano playing son of veteran bassist John Clayton, and this is his debut recording as a leader with a trio. For such a young man, Clayton is not afraid to dive into the jazz waters with an original concept of where his music lies in the contemporary world. At times he adapts standards, but mostly this is a program of new music that bears similar allegiances to peers like Robert Glasper, Aaron Parks, and Danny Grissett. There's a lyrical and ethereal approach to all of the selections -- elusive, lithe, quicksilver, Zen-like, very articulate, and always intriguing to the point where it tempts, pull you in, and envelops your soul. While varying time changes and melodic strains, it's clear Clayton -- far from a neophyte -- has learned well from his mentors Kenny Barron, Billy Childs, Mulgrew Miller, Monty Alexander, Benny Green, and Shelly Berg. He's a synthesis of them all while mastering similar musical grammar that resonates from within, instead of externally via image or flashpoint theatrics. A current-day jazz player and composer in the main, Clayton embraces fun and upbeat, heavily accented funk on "Boogablues," reflecting the styles of Ahmad Jamal, Ramsey Lewis, and Ray Bryant. Tumbling phrases settle into a compact area during "One Two You," there's playful energized stop-and-start segments strewn over the bop-oriented "Scrimmage," and that same technique identifies a reworked version of the Cole Porter standard "All of You." Where Clayton's heart lies is in the spirit song that makes Glasper's pulse similarly beat. The intriguing circular, quirky, deeply intriguing motion of "Trapped in Dream," the melodically elusive "Peace for the Moment," and particularly the distant piano creeping into the foreground for "Love All Around" reflects this gossamer-thin yet grounded quality. More ghostly, "Casiotone Pothole" is a sighing, processed sound, "Two Heads One Pillow" is soulful and lighter, while "Sunny Day Go" is a twilight-based track with repeat lines and the fading horizon perfectly represented. Clayton covers the Dizzy Gillespie evergreen "Con Alma" in spacious, delicate, California-cool tones as a solo pianist. Making up the rhythm team, bassist Joe Sanders and drummer Justin Brown are not heavyweight big-name players, but both listen quite well and are more than adequately rehearsed, bringing this music to full fruition. Gerald Clayton has hit at the very least a triple for this initial outing, an extremely sensitive and consistently satisfying effort that should bode well for his bright future, as he expounds on the personalized instrumental voice he has already discovered and established.