Tom Oren - Dark Lights (2026)

Pianist Tom Oren exudes the confidence of a man who understands who he is, what he wants, and where he’s going. Still not yet 30 at the time of this recording, yet already a Thelonious Monk Piano Competition winner with film scores and classical projects under his belt, Oren delivers a trio album that’s rich in narrative, touch and emotional intent.

Recorded with long-time collaborators Elam Friedlander on bass and Eviatar Slivnik on drums, Dark Lights is billed as the “second chapter” in Oren’s musical journal, following 2020’s Dorly’s Song. This time around, the emphasis is firmly on original composition, with six originals and three reworked pieces forming a tightly curated suite that explores shadow, ambiguity and – crucially – human warmth.

Opener Fantasy in C Sharp Minor sets the tone beautifully, unfolding like a miniature sonata with a haunting, waltz-like theme and a gradual expansion into dense, contrapuntal improvisation. Oren’s pianism is formidable – fleet, articulate, harmonically adventurous. – but what really stands out is his sense of pacing and restraint. This is virtuosity in service of story, not spectacle.

That narrative instinct clearly owes something to Oren’s parallel career in film scoring, and it’s most vivid on pieces like Forest Conference, where layered counterpoint mirrors imagined voices around a nocturnal bonfire, and Goodbye Alyosha, a deeply affecting response to The Brothers Karamazov. These are compositions that invite the listener in, rather than overwhelm them.

The trio dynamic is superb throughout. Friedlander’s bass solos, particularly on the reflective Throwing Pebbles, are melodic and grounded, while Slivnik’s drumming combines subtle colour with explosive energy when required. There’s a wonderful anecdotal humanity to the record too, typified by Oren leaving in a supposedly “wrong” chord because it felt honest in the moment. That philosophy permeates its way through the whole album.

Standards are treated with intelligence rather than reverence. A playful take on Out of Nowhere nods to bebop lineage without getting stuck in it, while Stella by Starlight is reharmonised boldly but respectfully. The album closes with Dawn of Adventure, a hopeful, open-hearted piece that lifts the darkness just enough to let some light in.

Dark Lights is thoughtful, accomplished and deeply engaging – a modern piano trio record that is intricate without ever feeling academic. Tom Oren is clearly a major voice in the making, and this album confirms he’s definitely one to watch.

Tom Oren - Piano
Elam Friedlander - Bass
Eviatar Slivnik - Drums