Anyone with an ear to the ground of the Irish jazz scene will be familiar with pianist Tom Maxwell and guitarist Matthew O’Connell. Both active session musicians at home and abroad, they have collectively collaborated with artists and acts such as Conor Guilfoyle, Celtic Women, Gustavo de Morais, John Keogh, Ronan Guilfoyle and Kasia Eliasz. They have also been busy leading up their own projects, playing some of the country's best regarded jazz venues and festivals. Their debut duo release, A Nice Day In Ireland, comes as a fresh entry into the 2026 Irish jazz catalogue.
The album features two original compositions, the first of which, A Nice Day In Ireland, penned by Maxwell, is a bright, motivic number and is definitely one of the more spacious, modern tracks in the collection. A memorable, light and song-like piece with tastefully composed interplay. There is a distinctly European feel about it. With a more minimalist orchestration, it wouldn’t seem out of place on an ECM record.
The young pair's rendition of Alone Together is a real standout. The piece opens with a piano vamp and guitar improv before the duo effortlessly swap roles, with piano taking the melody and guitar providing bass and harmonic accompaniment. Maxwell plays a notable solo charged with motivic ideas, blues language and plenty of forward motion. O’Connell provides an excellent solo also. The first of his 2 choruses is refreshingly spacious and could serve as an embellished reinterpretation of the melody. The second chorus swings hard with Maxwell walking and interjecting with rhythmic chord stabs. There are busier bebop lines, but still with the melody at the forefront. This is followed by a trades section which slowly introduces some contrapuntal improvisation. Returning to the melody, the first half is played in classical counterpoint style, an impressive and entertaining turn.
Another noteworthy track is a thoughtful Polka Dots and Moonbeams, where we are treated to a stellar solo guitar introduction. Monk’s Dream is a fun and interactive interpretation, full of “Monkisms” and plenty of harmonic and rhythmic intrigue. In Jeannine, the duo give us a groove-laden and snappy version of the Duke Pearson classic.
The second original, Small Yellow Chair, contributed by O’Connell, is also a slight diversion down a more contemporary road with a feeling of Americana we might expect to hear from Pat Metheny or Julian Lage, although it certainly has its own voice. Lyrical and uplifting, the melody is definitely one that sticks in the head.
The guitar-piano duo somehow always seems like fresh ground, despite being a well-explored format. Perhaps this is due to the sheer depth of possibilities when you have two timbrally diverse harmony instruments that have good blending. Recordings in this format are often hailed for restraint and light touches, but it really feels as if the duo are not holding back here, opting for heaps of groove, counterpoint and intricate arranging, rather than a delicate, introspective approach. The duo also avoid the common trap of guitar playing single-note melodies and solos while the piano accompanies. The workload is shared equally, and the result is a swinging record with a full sound, where the absence of a rhythm section doesn’t even register.
This is an arresting debut, with both players showing virtuosity, maturity and control in their playing and composing. Listeners of this record will certainly be excited to see what’s next for this emerging duo.
A Nice Day In Ireland is coming very soon, so watch this space!
