Brian Auger & The Trinity
Befour

Trinity by name and by nature, since this third release, dated 1970, is also the last for this line-up. In this case, the "Trinity" accompanying the prodigious British organist features the addition of a talented guitarist and singer named Gary Boyle, who replaces the excellent Julie Driscoll—she has moved on to start a family.

The album is substantial and interesting, immediately kicking off in grand style with the cover of Sly & Family Stone’s “I Wanna Take You Higher”: much better than the original, more structured and rhythmic, yet decidedly catchy. The positive flow continues with “No Time to Live” by Traffic, which was a big hit during those years, particularly among musicians, as many were rushing to reinterpret it. Auger lets his new guitarist sing it... perhaps it was indeed Boyle who suggested it, as he performs with great conviction.

The string of well-executed covers continues with the beautiful theme by pianist Herbie Hancock, “Maiden Voyage”, which I would also recommend checking out in the rendition recorded by Toto on their 2002 album “Through the Looking Glass,” featuring wonderful parts by Paich on piano and Lukather on guitar.

The rendition of “Listen Here” by jazz saxophonist Eddie Harris winks at Santana through the use of percussion, the obsessive groove of the bass, and also the style Boyle pulls out on lead guitar. In any case, it becomes yet another training ground for the leader’s torrential improvisations, first on piano and then on organ. Slightly less so, but also the case with the original “Just You, Just Me”, where Boyle instead channels Joe Pass, picking up the semi-acoustic guitar, in true jazz tradition.

Dominating above all is, however, the fantastic and powerful main theme of the Pavane by classical composer Gabriel Fauré, skillfully converted to jazz-rock moods through the penetrating and satisfying sounds of the Hammond organ, wielded as it is by one of its most refined players.

The album is the best by Trinity, and who knows why Brian would send everyone home and continue his career by founding a new band, Oblivion Express… Perhaps the relative success of this outstanding work undermined the internal relationships in the band, and indeed it was some of his bandmates who chose to leave. Yet this record remains as a testament—absolutely recommendable, with the special scent of the early ’70s.