"A brilliant debut album showcasing the respective talents of three exceptional British musicians... An excellent start... They are the business."
★★★★½ All About Jazz

There's a real buzz around this London trio, whose live rock energy and left-field smarts are evident on their eponymous debut."
★★★★ The Evening Standard

"​There’s subtlety, there’s grace, and there’s excitement.​ ​The variation on the themes are exceptional​."
★​★★★ UK Vibe

"A trio fast-playing and fast-reacting with often spectacular ease."
★★★★ The Scotsman

"A great band... Exactly what you would expect from musicians of this calibre."
Bebop spoken here

" ​A very promising debut from Preston, Glasgow and Lowe. Rich in intensity and spellbinding in parts, there’s obviously much more to come from this exciting trio.​"
★​★★★​ UK Vibe

"Think Metallica meets Mingus, or Hendrix, Pastorius and Animal from the Muppets on a bro-date."
★★★★ The Evening Standard

"The playing is impressive, as are the compositions, the group empathy & the deeply embedded melodic sense that runs throughout the record."
Jazz In York

"compelling mix of sophisticated harmonic/rhythmic ideas and dazzling soloistic technique" - Jazzwise

"superb young modern jazz" - Time Out London

"Preston Glasgow Lowe are going somewhere pretty special" - The Herald


The Herald, November 1, 2013 - Review by Rob Adams

Practice, it seems, will only get you so far. Guitarist David Preston, bassist Kevin Glasgow and drummer Laurie Lowe are certainly all practised musicians. They know their way around their instruments like a London cabbie knows the A to Z (or should do). There’s a bit more than knowledge and facility going on here, though, and that appears to be down to telepathy.

A power trio in the John Scofield-Allan Holdsworth tradition but with a style of their own, their music is immaculately arranged, with unison guitar and bass guitar lines, accent shifts, melodic motifs that are stated by first one, then the other – and that includes Lowe, whose contributions are uncannily musical – and a huge variety of dynamics, shades and colours.

There’s tremendous punch in Lowe’s punctuation as he injects energy with precisely choreographed and always swinging stick flicks and surges and a kind of cymbal ballet that’s particularly exciting. One emphatic stroke from under the cymbal in synch with a snappy glissando from Preston nearly lifted your reviewer out of his seat. If that was rehearsed, good on ‘em. But if it was spontaneous, then this is even more of a band to watch out for.

Glasgow is the known quantity, being from these parts and a member of Tommy Smith’s Karma, and his ability to produce fast, articulate note clusters with the minimum of finger movement is startling. Like, Preston, however, whose repertoire includes an update on Wes Montgomery’s octave-stopping style, his technique is put entirely to the service of music where blue notes are plentiful and where the trio thinking and acting as one produces a sound to behold.


The Bristol Post, November 15, 2013 - Review by Tony Benjamin

OK – so it’s getting a bit chilly of an evening and, yes, there’s an Ing-ur-land match on the telly. Neither of those factors, however, can excuse the hordes of people who would have been blown away by this gig had they only bothered to come down. The Preston Glasgow Lowe trio were happily unfazed by the small turnout, possibly because they give the impression of three young players so absolutely immersed in their music that they may be oblivious to anything else. This absorption results in a combination of individual and collective virtuosity that can be simply staggering at times, while their music also manages to have enough musical shape and variety to not merely rely on sheer technical brilliance.

They’re loud – probably the loudest thing I’ve ever heard at the Bebop – and mostly fast, too, in a contemporary fusion way. David Preston’s insistent guitar uses rapid-fire arpeggios with a subtlety of variation that allows him to move around the fretboard in fluid sweeps and works up a dazzling counterpoint with Kevin Glasgow’s six-string bass guitar, the latter combining rhythmic chords and punching bass notes on tunes like ‘Sigur, Scruff & Shadow’ (not musical influences, it seems, but rats in Glasgow’s house) for which Laurie Lowe's resurgent drumming builds to Billy Cobham thunder. ‘Elephant & Castle’, another Glasgow composition, has an appropriately ponderous undertow overlaid with vigorous guitar and an astonishing bass solo, Glasgow using the two-handed ‘tapping’ trick across all six strings at lightning speed to create torrential textures way beyond anything you might have heard before. The piece morphs via a skilfully McLaughlin-esque guitar payout into a slinky seven-time swing effortlessly confected by Lowe’s brushwork and an unfussy bass lope that could suit a David Lynch film.

There are moments, as in the angular and rockish ‘CPU’, when it’s easy to imagine declamatory voices intoning poetry over the music, but that piece becomes an unexpected mix of Nile Rodgers and Frank Zappa and the thought is dispelled. For all their hard-working virtuosity the band remain coolly composed to the end, suggesting something of the Olympian discipline that’s got them to this level of musicianship, and the fortunate few who caught the gig were left frustrated by the lack of ‘product’ to take home from this memorable evening. If you missed it (and you probably did) then hunt around YouTube for snippets such as this, but the old cliché runs very true: you had to be there, really.


Sussex Jazz Magazine, October 25, 2013 - Review by Charlie Anderson

The contemporary jazz trio of guitarist David Preston, six-string bassist Kevin Glasgow, and drummer Laurie Lowe embarked on their UK tour with a sensational gig at The Verdict with guest virtuoso flautist Gareth Lockrane.

The trio could easily garner comparison with the likes of The Neil Cowley Trio and other contemporary ensembles, as they laid down some driving, energetic grooves in a variety of time signatures, with complex unison passages and tightly-woven arrangements.

Starting off with the composition Silvertide, they showed their intense interplay and expert musicianship (this piece is well worth a watch on YouTube).

Bassist Kevin Glasgow contributed a number of the compositions throughout the evening, such as Elephant & Castle, and the intriguing Sigur, Scruff & Shadow, named after three rats that he once shared a practice room with. Glasgow’s unique compositions were a great vehicle for Lockrane’s spirited and engaging flute playing, particularly on the piece The Priory, named after Sainte Marie de La Tourette, a priory near Lyon designed by Le Corbusier and Iannis Xenakis.

The Olivier Messiaen composition O Sancrum Convivium worked really well in this setting and provided a serene contrast to the other pieces that were played. Check out the trio version on their website.

A fantastic evening of original music ended with calls for an encore from a small but appreciative audience, who were further enthralled by S’not Meridian, another intricate and energetic original from guitarist David Preston.

If you’re at all interested in British contemporary jazz then I urge you to see this band in a live setting. Preston-Glasgow-Lowe are touring the UK throughout October and November. Check their website for details.


Bebop Spoken Here, November 4, 2013 - Review by Russell


Splinter at the Bridge booked a young trio, took a chance and were rewarded with a low turn out. Audience numbers are down just about everywhere but when it is a struggle to reach double figures at the door it begs the question: Why bother? Well, people bother because the music means a lot to them. The promoter - Splinter - will soldier on and the few regulars will continue to show up.

This week’s guests - David Preston, guitar, Kevin Glasgow (six string electric bass) and drummer Laurie Lowe - presented a programme of almost entirely original material and played it with commitment and the highest level of musicianship imaginable. Tyneside is home to tens of thousands of students (several hundred of them studying music) and they were nowhere to be seen. Well, it’s their loss. Hearing the trio would have inspired (or perhaps disheartened) them. These guys could play, big time!

The tunes owed much to seventies’ jazz fusion. The likes of McLaughlin, Clarke and Cobham would have run for cover had they called in to the Bridge for a pint. Preston’s four-fingered fret board work had to be seen (and heard) to be believed. Glasgow, no stranger to the Bridge, possesses amazing chops and Lowe must practice eight days a week! The standard was terrifying. Tunes featured extended solo flights - Preston’sSilvertide featured the composer who laid down a great solo. Everything, Everything(comp. Preston) hinted at lyricism until the fusion pulse took charge once more. Olivier Messiaen’s composition for choir - O Sacrum Convivium - rang out loud and clear in a re-voicing for the three piece. A big sound from a small band! The Priory(comp Glasgow) referenced architect Le Corbusier with Lowe constructing a mighty solo. Piercing guitar developed from a cracking riff on Preston’s CPU with his band mates right on the money. The trio’s closing number - The Anvil (named after the music venue) - ensured we went out on a high.