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# Buster Williams Trio at VanJazz '26
- URL: https://www.rhythmchanges.ca/buster-williams-trio-at-vanjazz-26/
- Published: 2026-10-27T03:48:25.000Z
- Updated: 2026-10-27T04:34:42.000Z
- Description: Oct. 21 with George Colligan and Domo Branch at the Alliance Française Theatre
- Author: Todd Stewart
- Tags: Free Weekly

It was a real pleasure to spend last Wednesday night at a new-to-me venue, Alliance Française Theatre, taking in the very special occasion of a piano trio performance led by legendary bassist **Buster Williams**. An especially delightful element of this occasion was that this was a room sized very nicely for the acoustics of a piano trio performance. It was not too large to dampen the ever-important factor of closeness, always an asset for smaller, acoustic instrumentations in-person; but it was large enough to accommodate the eager, sizable crowd bound to show up for an artist of this magnitude.

The music fans of so-called "Vancouver" showed up in abundance and with a palpable shared attentiveness. The presence of all three musicians sharing the stage that evening obviously merited this reverence: Buster Williams is known immediately for his well-documented performance and recording resume, including Herbie Hancock, Mary Lou Williams, Shirley Horn, Abdullah Ibrahim, and many more. But it’s important to primarily consider the unique qualities of his musicianship that he is known for, qualities which have warranted his presence in such a vast swath of "jazz" from the late 20th century to the present, in which he continues to offer his talents with an undeniable passion.

One highly fitting descriptor of Williams' playing, is *assertive*. This encompasses the unapologetically present space he occupies in the blend of any given ensemble; the fluidity of his balance between foreground and background levels of complexity in his basslines, particularly his adeptness with the give-and-take required to build dynamically with an interactive small-group; and the virtuosic, expansive vocabulary he draws from to achieve this effect. I imagine for the other members of this trio, pianist George Colligan and drummer Domo Branch, to play with such an undeniable master and authority of the music was nothing short of bliss. 

Williams presents the music from the position of the rhythm section, and he has done so in a myriad of environments, including accompanying practically any swinging vocalist you can think of. Conversely, he has played unconventional, compositionally-focused music, including electric ensembles. I’m thinking particularly of his involvement with Herbie Hancock’s early-70s Mwandishi era, which introduced me to Williams. The first album of this period, *Mwandishi* – which, in it’s opening track, pays tribute to the ever-important author, political theorist and activist, Angela Davis – is in my mind one of the defining albums of 1970s Black American music, an undeniable highlight in the Herbie Hancock discography.

At this show, many of the things I love so much about piano trio instrumentation were realized to the fullest extent. I’ve already addressed the element of give-and-take, in regards to Williams’ playing, but overall this entire group was playing with a truly exemplary level of attention to each other’s time feel and improvisational direction. This was particularly enjoyable in the many moments of the evening where the trio took their time building momentum, in a two-feel, before hitting their full swinging velocity. These were some of the most simultaneously rock-solid and playful two-feels I’ve seen a rhythm section or trio pull off. These three had an amazing sense of pocket. 

To supplement this point in regards to Williams, have a listen to this wonderful early recording of him playing in a piano trio, accompanying the profoundly influential compositional and pianistic pioneer, Mary Lou Williams. Alongside them is the spectacular drummer Billy Hart, still performing and recording to this day.

George Colligan is well-known as a regular visitor to our local clubs, and for good reason. He demonstrated exceptionally at this show what he is known to be an enduring source for: mastery of various idioms and of the dynamic capabilities of the piano. In the context of this trio, he was such a sharp leading voice for the bass and drums to support. His own flair brought wonderful life to the many intricate compositions brought forward by Williams, including the energized swing of "Where Giants Dwell" and the stark "Song of the Outcasts", in which he took the time to develop a particularly breathtaking solo over a snaky, mixed-meter groove. 

Domo Branch, a now-leading voice in both the New York and Portland scenes, absolutely rose to the occasion of the drum throne for this trio. His variation in timbre, and spectacular ability to both let the music breathe and inject little phrases at the perfect moment to shift the level of intensity, made for accompaniment of the highest caliber, rounding out the trio’s sound beautifully.

I’m feeling very lucky to have an opportunity to have been invited to bear witness to and share my thoughts on such a special musical event for those in the city who maintain deep adoration of this music. Kudos to Infidels Jazz, the VJO Society, and all the workers and volunteers who contributed their time and energy to making this night happen. Most of all, thanks to Buster Williams who has, and continues to devote his life to nurturing the music.