The One: Chasing Shadows

PARK WEST RECORDS  (RELEASED FEBRUARY 20, 2026)

The One, a trio featuring pianist Anthony Coleman, bassist Adam Lane and drummer Patrick Golden, can best be described as a trilix. Trilix is a Latin adjective referring to a fabric woven with three threads. The members of The One demonstrate their ability to weave snatches of melodies, shifting rhythms and complex structures into the fabric of five freely improvised pieces. The term trilix is also used to describe something intertwined. Chasing Shadows is the debut release from The One, capturing the in-the moment interplay between three distinct voices intertwining in shared vision and spirit. Coleman weaves a range of piano textures on Chasing Shadows  — percussive phrases, chime-like chord clusters, introspective interludes and dense dissonances — that have characterized his style on his past 15 sessions as a leader. Lane’s effortless shifting from arco to pizzicato adds strength and color to the sound tapestries created by The One. Golden’s fluctuating rhythms and colors weave in and out of Coleman and Lane’s textures. He provides a driving sense of forward motion on tunes such as “The Interval Between” and “Hold,” while creating a more meditative mood on tunes such as “In the Dance” and “Blood Vine.” Like a great tapestry, the music created by The One is hand woven by masters who conceal the structural backbone of the piece by intertwining complex patterns and colors into a mesmerizing whole. Fans of collective improvisation will appreciate the musical craftsmanship of The One, a trilix that creates a strong musical tapestry called Chasing Shadows.

BOTTOM LINE: A pianist, bassist and drummer walk into a recording studio. No, it’s not the beginning of a joke. It’s a drama that musically unfolds as Anthony Coleman, Adam Lane and Patrick Golden explore the shifting sonics of the five freely improvised pieces on their debut release as The One — Chasing Shadows.  

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Welcome to Papatamus Redux

I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.