Clement/Kovalcheck/Hamar Trio Review
by Illiam Sebitz
Emerging from the dynamic intersection of the Pacific Northwest’s majestic landscapes and Tennessee’s deep-rooted musical heritage, the Clement/Kovalcheck/Hamar Trio presents a refreshing and intimate take on modern jazz. This drummerless ensemble, consisting of Dawn Clement on piano, Steve Kovalcheck on guitar, and Jon Hamar on bass, offers a sonic narrative that is inventive and anchored in tradition. Their self-titled album, Clement/Kovalcheck/Hamar, is a collection of stories that traverse various jazz styles, compelling trio dialogues, and explorations of rhythm that ripple with jazz depth.
The absence of drums in this trio creates space for enjoying the interplay between piano, guitar, and bass, allowing the rhythm to emerge organically from the ensemble’s conversation. Each member brings a distinct voice to the project. Clement’s piano is lyrical and rhythmically centered, Kovalcheck’s guitar offers a blend of bluesy warmth and swing, and Hamar’s bass provides a steady foundation that keeps the trio grounded. Together, they weave a sound that flows effortlessly through eleven originals written by each trio member.
The opening track, “Blind,” was composed by Clement for her debut gig as a leader in Denver. The piece was initially written for cornetist Ron Miles. Its two-part melody intertwines, creating a web of sound where lead and harmony seem to trade places in a seamless dance. The interplay between the three musicians in the solo section is excellent. The fluidity of Clement’s phrasing on the piano, matched by Kovalcheck’s tender guitar lines, evokes a dream-like atmosphere where the listener is gently pulled into the depths of the trio’s intricate musical world.
“Spirit Spin,” penned by Kovalcheck, is a nod to the great Roy Haynes, whose rhythmic vitality is felt throughout this dynamic composition. In the absence of drums, Clement and Hamar’s rhythmic intuition comes to the fore, allowing the piece to develop an internal pulse that establishes the groove but ebbs and flows like a spirited conversation between longtime friends. The music moves with agility, constantly shifting between moods while maintaining a cohesive forward waltz momentum. The solo section finds the three swapping phrases, adding to the conversational flow of the song and highlighting the chemistry between them.
Hamar’s “The Lazy Dragon” perfectly exemplifies the trio’s ability to craft vivid musical imagery. Built around pentatonic motifs, the composition evokes the image of a dragon peacefully slumbering, its serene power subtly hinted at through the languid melody and the carefully restrained harmonic movement. The trio’s interplay shines as they bring the creature to life, particularly in the closing section where the melody conjures the dragon’s dream. Clement’s piano playing is highly expressive here as she colors the open harmonic movement with big melodic gestures and memorable motifs.
“Paseo Del Mar,” another of Hamar’s compositions, captures the expansive beauty of the Pacific Ocean views along the Palos Verdes Peninsula. With a leisurely melody and a panoramic harmonic structure, the piece offers listeners a chance to walk along this scenic route, where the sea breeze mingles with sunlight, and the waves’ rhythmic patterns match the undulating harmonic shifts. Hamar’s bowing is particularly striking here, offering a sense of spaciousness that matches the openness of the sea. The way Clement plays the bossa nova bass line when Hamar is bowing and her rhythmic accompaniment during his soloing adds to the song’s texture and feel.
For those craving a more energetic side of the trio, “Hardball” delivers in spades. This high-energy bebop tune, composed by Clement over the chord changes of “Do It the Hard Way,” brings a developing resilient feel to the opening section and the simultaneous group improvisation within the trio’s drummerless format. The interaction within the improvised section showcases the trio’s concertation and interaction without losing the sense of fun that defines great simultaneous soloing.
“It’s About Time,” composed by Kovalcheck, takes inspiration from the hard bop groups of the 50s and 60s, blending Latin rhythms with swing in a way that shows the trio’s ability to clearly convey a song’s feel and its transitions. The rhythmic interplay between Clement’s piano and Hamar’s bass is particularly notable here, as they lock into a groove that feels energetic. Kovalckeck’s solo reflects the rhythmic pulse of the piece and the sense that this trio’s music has been building toward this moment of celebration.
“The Meadow is an Ocean” and “Tomorrow Island” both demonstrate the trio’s ability to translate various styles of jazz. The former captures the vastness of the Pacific Northwest, where dense forests open up into expansive meadows that seem to stretch on forever. The latter, named after a remote island in the Bering Strait, symbolizes resilience in the face of harsh conditions. The trio’s delicate interplay reflects a European and folk-jazz optimism that underpins the compositions, with Kovalcheck’s guitar lines soaring like rays of sunlight breaking through storm clouds on “Tomorrow Island.”
“Clarity,” Hamar’s contribution, is a reflection on the nature of perception and understanding. The trio’s performance is marked by a sense of lucidity, with each note clear and distinct, yet part of a greater whole. The piece embodies the very essence of the album—an experience free from ambiguity, where every phrase contributes to a larger narrative of connection and clarity. Clement’s harmonic and melodic colors match the song’s colors and energy beautifully. Also of note is the way Clement’s and Kovalcheck’s chordal figures complement each other.
The closing track, “Tree Hugger,” is a fitting tribute to love, gratitude, and environmental stewardship. Clement’s heartfelt composition is brought to life by the trio’s warm tones blending together in a way that mirrors the nurturing relationships we have with each other and the natural world. It’s a reminder of the power of music to ground us, to stabilize us, and to remind us of what’s truly important, listening to what the moment has to say.
The Clement/Kovalcheck/Hamar album is a project based on restraint and collaboration. By forgoing drums, the trio allows space for intricate melodies, harmonies, and rhythmic interactions that might be lost in a more traditional ensemble setting. Their music is deeply rooted in the jazz tradition, yet pulling from the wide styles today’s jazz has to offer. For modern jazz fans looking for a thoughtful, intimate listening experience, Clement/Kovalcheck/Hamar provides a journeying listening experience guided by three musicians playing and listening from the heart.
Artist: Clement/Kovalcheck/Hamar Trio
Album: Clement/Kovalcheck/Hamar
Label: Self-Released
Release Date: September 6, 2024
About the author

Illiam Sebitz
Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.
In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.
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