Album information

The Convergence Quartet - “Slow and Steady”

The Convergence Quartet - “Slow and Steady”


  • Taylor Ho Bynum - cornet
  • Alexander Hawkins - piano
  • Dominic Lash - double bass
  • Harris Eisenstadt - drums

The Convergence Quartet - “Slow and Steady”
CD - € 12,00
(shipping worldwide € 3,00)

Track list

  1. assemble / melancholy (Alexander Hawkins)
  2. Third Convergence (Harris Eisenstadt)
  3. Remember Raoul (Taylor Ho Bynum) / Piano Part Two (Dominic Lash)
  4. equals / understand (totem) (Alexander Hawkins)
  5. Oat Roe + Three by Three (Dominic Lash)
  6. The Taff End (Dominic Lash)
  7. Slow and Steady (Harris Eisenstadt)

NoBusiness Records NBCD 53, 2013

Recorded live at the Vortex Jazz Club, Sunday November 13th 2011 as part of the London Jazz Festival by Alex Bonney
Taylor Ho Bynum (Thobulous Music), Harris Eisenstadt (Socan/Heresy Music), Alexander Hawkins (Big Life/In All Seriousness Music Ltd.) and Dominic Lash (PRS)
Harris Eisenstadt plays Istanbul Agop cymbals
Photos by by Peter Gannushkin / DOWNTOWNMUSIC.NET, except photo of Alexander Hawkins by Edu Hawkins
Mixed by Alex Bonney and Alexander Hawkins
Mastered by Arūnas Zujus at MAMAstudios
Design by Oskaras Anosovas
Produced by Convergence Quartet and Danas Mikailionis
Co-producer - Valerij Anosov

Developed at Space with support from The Dartington Hall Trust
With thanks to Jazz Services UK and Arts Council England.

The Reviews & Articles

The Convergence Quartet, Slow and Steady (NoBusiness)

The third and best album by this nimble transatlantic jazz band (cornetist Taylor Ho Bynum is American, drummer Harris Eisenstadt is Canadian, and bassist Dominic Lash and pianistAlexander Hawkins, one of the most exciting keyboardists in improvised music, are both British) applies the distinctive musical personalities of first-rate improvisers to a series of detailed, structured compositions written by all four members. The songs veer in and out of postbop but maintain a single cogent sound. Eisenstadt's multi­partite "Third Convergence," for example, opens with knotty freebop rambling, then suddenly melts into a gorgeous ballad sequence, where Hawkins injects subtly sour, beautifully lyrical harmonies and Bynum plays a plush, radiant solo—and that's only halfway through the tune. Moods and styles shift from track to track, but no matter the territory, the musicians dissolve the gap between their jazz foundations and their predilection for abstraction. Few recordings I've heard in the past couple years have so vividly collided extended technique and pure-sound exploration with melody and crisp swing.
—Peter Margasak