Sue Cahill: Evanstonia

SELF PRODUCED (RELEASED MAY 29, 2026)

With the release of Evanstonia, you can add Sue Cahill to the list of woman bass players currently on the scene. What might separate Cahill from the others is her decades as a orchestral musician. Although, she may not be a flashy bassist, Cahill’s steady pulse, rich tone, arco playing, improvisational skills and compositional charms are on full display on seven originals accompanied by pianist Dawn Clement and drummer Dru Heller. Cahill serves as an anchor for Clement’s explorations on the title track, which bears a striking resemblance to Thelonious Monk’s “Well You Needn’t,” and the jazz waltz “Blue Light.” Cahill’s bass brings the Latin feel of “Fade into Autumn” to life as well as showcasing her sensitivity as an accompanist and a pizzicato soloist. She switches to arco playing which is ideally suited for the dreamy and somewhat abstract nature of “Violet Snow.” Supported by the drumming of Heller, Cahill draws from nearly two decades immersed in the tango world on “Serenata,” a slow soothing piece on which her arco solo takes on a singing style all its own and her pizzicato adds just the right pulse for Clement’s solo. The playful and abstract nature of “Unpresidented” is perfect for the trio to shine as they interact melodically, harmonically and rhythmically. Clement adds her vocal abilities to the somber “June February,” a spacious melodic line on which the dark cries of Cahill’s arco playing adds a sense of solace to a piece inspired by the loss of her niece and a close friend within days of each other. Evanstonia demonstrates the sensitivity, flexibility and proficiency of a bassist and composer making her move from the somewhat restrictive orchestral routine to the wide open spaces of compositions rooted in jazz and improvisation. It’s an exciting first step for Cahill and the jazz community.

BOTTOM LINE: If you are curious about the name of Sue Cahill’s Evanstonia, it is nod to her hometown of Evanston, Illinois. As she explains, Chicago’s classical broadcasts, jazz programming and restless creative energy left an indelible imprint on her skills as a masterful bassist and compelling composer. It is certain to leave an imprint on jazz listeners who are yearning for something beyond the traditional, standards-driven piano trio format.