snobb New York acoustic bassist William Parker started his musical career in jazz as far back as the early 70s, collaborating with Don Cherry and, more notably, Cecil Taylor. Still, it was already the 90s when he became one of the main figures in the down town avant-garde jazz scene, experiencing hard times once again - this time being deeply in the shade of fashionable-again mainstream jazz.

A prolific leader and collaborator, he became a real star (and probably the leading acoustic bassist on the avant-garde jazz scene) only in the first decade of the new century. Being very physical and muscular, his bass usually sounds tuneful and even lyrical, which is what often makes his music attractive for a wide audience.

With busy drummer Hamid Drake, William Parker played together in one of the most successful Peter Brotzmann projects from the 90s, Die Like a Dog (initially born as an Albert Ayler tribute project). Now, as a trio with the lesser known reedist Daniel Carter, they have recorded a collection of muscular but tuneful, almost catchy compositions, "Painter's Spring", quite straight (by William's standards). All but two of the songs are William's originals, and they all generally sound like a mosaic of paintings (it's a rare case where the album's title means a lot). There is no obvious leader and the music is a product of equal collaboration between all three musicians.

With all of its accessibility and beauty, this album is probably the best entrance to the usually more complex and quirky, but always colorful world of Parker's music.