The beautiful cover of the CD-Wee Trio-style comic pop art, Roy Lichtenstein, including onomatopoeia-represents the three musicians in the act of playing.The music is a dynamic and multi-faceted, in line with possible variations of a company on the move.The combination of pop art and  Live at the Bistro  -Disco photographing the performance of the homonymous group of local St. Louis for a couple of years away from  Ashes to Ashes: David Bowie Intraspective -not accidental. Like the works of Lichtenstein, the disk contains no distinction between genders. Pop and bop, funk and rock, swing and cool jazz are references in the joint process of kaleidoscopic musical representation of the group. Each piece is in itself a synthesis of poetic antolologica of the trio, where nothing is hidden within the parameters to change. The execution of each piece is malleable, constantly moving. The sound tracks are not closed square. They evoke images always changing.Live at the Bistro  evokes an imaginary dream in which live sound American “high culture” and “low” energy, frenzy, meditative space, the ability to change perspective and direction to the music, a sense of belonging to a linguistic syntax jazz identity of the modern type , aspiration and realization of a democratic music, in which the parity between vibraphone ( James Westfall ), bass ( Dan Loomis ) and battery ( Jared Schönig ) is the formal discipline of the entire project.That Wee Trio is made ​​up of creative originality of the sound is shown that he knows is powerful, supple, expressive and full of adogmatici references if necessary lackluster. Apart from the aforementioned genres, music that is known to be nicely decorated with baroque-music echoes even then understanding of the jazz tradition that leads inevitably to the  Modern Jazz Quartet .
The trio’s music will not surprise artificially and a priori, simply amazed at the way in which is built: it feeds the exchange of ideas between musicians and performances by no means obvious.
The strength of the group comes from the game of the parts, dall’interplay-that is the mainstay of sound-and an approach to the musical culture of pragmatic – pluralistic and multilingual-in which the unexpected combinations are the norm.

What are the standards (“Cherokee” and “There Is No Greater Love”), to pop songs by David Bowie (“Queen Bitch”) or original pieces (“Sabotage,” “White Trash Blues,” “New Earth” and “Ranthem”), the assumption is the same: to give the performances a deep sense of lightness music. This makes the song highly legible to the user, despite the valuable traits of craftsmanship and technical mastery.

Listening to  Live at the Bistro  is a truly exciting and fulfilling for both the mind and the body. We hope to see them as soon as possible and listen to these latitudes.