LIMA BEANS  |  Michael G. Nastos  |  All Music Guide

Boston's veteran jazz pianist Bert Seager has fronted a variety of larger ensembles and piano-bass-drums trios (the KJB project being his most prominent), but here a new trio is offered, featuring native Peruvians in bassist Jorge Roeder and drummer Jorge Perez Albela. Though the deep green lima bean vegetable usually paired with corn in succotash is displayed in the cover art, the reference also pertains to the sidemen's home of Lima, and Boston's nickname as Beantown. Cleverness aside, there's not only smart and well-crafted modern jazz present, but innate beauty and serene confidence in Seager's music that is coming more to the forefront these days, as rat race Big Dig society becomes more pronounced. Seager's content embraces many emotional aspects, whether in oceanic mystery as on the Mike Nock reminiscent "Prelude"; a circle-the-wagons melodic approach for his originally penned and titled "How High Is the Ocean"; or the lilting, slightly tango-tinged, wishful-thinking "Learning to Trust in Love."

Conversely, "Bounce" is set in a rock rhythm contrasting Seager's wandering piano, while "Wait Less" (another of several witty titles) is led by Roeder's bass in a children's song mode, followed by a joined and unjoined piano line. Seager's specialty is the contemporary spirit song, best exemplified by the modal "Rockturne," moving through beats of six and four in the prettiest, flowering visage. Two sensitive ballads are included, as well as Seager singing in a slightly innocent manner (easily compared to Bob Dorough) on "When Singing Just Sing," a playful waltz encouraging us all to simplify life. While Bert Seager is one of the most intelligent contemporary jazz pianists out there, he's also very enjoyable to anyone who likes well-played music. On this effort he's able to extend his olive branches a bit more while losing none of the flavor that makes his tasty music special in its own way.

BEAT GREENS  |  David Kane  |  Cadence Magazine

Bert Seager leads a seasoned trio through a collection of highly personalized standards and finely etched originals. Although rhythm-mates Messrs. Barshay and Roeder are short on years they are long on talent and they have had the good fortune to have played with Seager for an extended period. The ensemble spirit that has evolved from that experience shows up well in this recording. Bert’s playing, while generally eschewing technical fireworks, is striking in its thoughtfulness and logic and the organic lines seem to naturally grow from the trio’s interactive frisson. Unafraid to use space, he achieves tension and interest through sophisticated melodic design and piquant harmonic thinking.

For the originals, on the witty “Bach’s Lunch”, as the title suggests, Seager explores various harmonic patterns as used by Bach and other Baroque Masters and although he sticks close to the “changes” his lines are infused with enough invention as to be a constant delight. “Open Book” is a pretty Jazz waltz performed here in an empathic duo setting with Roeder. “Bleeding Heart” is another fine original and notable for the intro that manages to obscure the underlying meter so that when it does become clear to the listener it is a happy surprise. And indeed, the phrase “happy surprise” is an excellent way to describe my reaction to Beat Greens. Highly recommended.

A CLOSER LOOK KJB  |  Phillip McNally  |  Cadence Magazine

KJB is a piano trio in the now classic Bill Evans vein, where they are truly more a trio than a piano trio. Emphasis is on the group sound.

In his liner notes, pianist Bert Seager explains the challenge they set themselves. To keep thing fresh, they played largely a set of tunes they all knew well, but this time performed in odd tempi. And what we are hearing is all first takes (with the exception of "Don't Go" the new composition which presumably they needed to learn.

Because of this challenge, KJB definitely has the energy of discovery driving it. Seager has a fine, clear articulation on the keyboard, and he loves stating the melody simply and then varying it as it grows. Bassist John Lockwood is a highlight here. He has a great melodic sense, and his solos frequently stand out, yet he is also adept at disappearing into the trio's sound when it is not his turn to shine. Drummer Kazumi Ikenaga can swing, and he has got a light touch favoring the high end of his kit; plus he is good with brushes. Those gentle skills make his work suit this trio format perfectly.

KJB has produced a fine and tasteful recording from the jazz mainstream. It is not essential but it is a joy to hear.

PIONEER  |  Ed Hazell  |  The Boston Phoenix

Over the years, Boston-area pianist Seager has only grown more refined and more adventurous. Beginning with his earliest post-bop quintet recordings, and then in several different trio settings, Seager has distilled his lyrical approach into perfectly blalanced and unfailingly beautiful music full of quiet subtleties. On his latest release, he finds fresh ways into standards like "You and the Night and the Music," and he writes beguiling originals like "Joyful Neus (for Judi and Carlo)" that are full of intimate surprises. He also offers up Pete Seeger's "where Have All the Flowers Gone?" and the heartwrenching folk-tinged title track, both of which blend the song-lile clarity of Seager's jazz soloing with a deep feeling for Americana. Then on "Trio Improvisation" he branches out into free improv, using only his highly developed lyrical sense to make the parts cohere. His new trio, with bassist Masa Kamaguchi and drummer Take Toriyama, is light-handed and responsive and never overplays, each musician is an attentive listener as well as an accomplished soloist. For all its intimate complexity and understated charm, this is a trio that's too alive and searching to be dull or complacent.

FREEDOM OF ASSEMBLY  |  Bob Blumenthal  |  The Boston Globe

Bert Seager embraces spontaneous composition and colective improvisation for the first time with this album, after having established his mastery in the more traditional trio and quintet environments. The results argue that a total command of the known is the best vantage point from which to launch into the unknown. Seager's new music conveys the same level of certainty that might emerge were he to approach a familiar set of chord changes or a time-honored vamp, minus the patterned responses that even many of the "freest" players find themselves clinging to for security. He clearly knows his own mind, and is equally curious to probe the psyches of his new partners, bassist George Donchev and drummer Nat Mugavero. They, in turn, provide the pianist with what the situation demands - immediate responsiveness and constant surprise. Standards by Ellington and Berlin provide a reference point for Seager's new brand of lyricism, while the remaining tracks spin the trio deeper into the realm of unmediated impulse and sound.

RESONANCE  |  Kevin R. Convey  |  Boston Herald

On his debut CD for Accurate, pianist Bert Seager commits to album what's been thrilling Boston-area audiences for more than a decade flowing, storylike improvisations, startingly apt group interplay and an ear for top-shelf tunes. Forsaking the horn-fired bop that characterized his first three recordings, Seager continues to mine the Bill Evans/Keith Jarrett piano-trio tradition on his fifth outing and turns up diamond after diamond. The trio's improvisations possess a transparency, flow and deliberateness that's rare these days. "Resonance" is a first-class gem from a local treasure. (Tuesday at the Regattabar.)