"In a matter of months, Morley has produced two impressive recordings (alongside her work as an accompanist for silent movies and at the English National Ballet School)... Sadler and Caroselli give her music an added depth, making this group one of the most exciting on the current UK scene. Australia's loss is the UK's gain"

- Bruce Lindsay (All About Jazz 24/08/17)


"Morley continues to fulfil the promise suggested by the “Through the Hours” EP...Individually the musicians all play well but the most impressive aspect of the recording is the interaction between the three instrumentalists"

- Ian Mann (The Jazz Mann 09/08/17)


"If Meg Morley's solo album was 'packed with potential', so is this debut Trio album. This album should not be a 'one off'" 

- Ian Maund (Sandy Brown Jazz 09/17)


A few weeks after Meg Morley's well-received debut solo piano release, Through the Hours, in March 2017, the Australian pianist formed a trio with British bass player Richard Sadler and Italian drummer Emiliano Caroselli to record an album of her original music in London. The three discovered a musical affinity whilst briefly working together in 2014 on MIA Panboola's album Searching not Finding - which also featured Morley's compositions. A sense of fun and quirkiness shared between the three is apparent throughout the debut album, Can't Get Started, originating from their individual backgrounds: Morley is a classically-trained pianist/composer, primarily improvising for dance and silent film whilst also studying jazz; the prodigiously self-taught Sadler is proficient in various musical styles, and performs with an impressive range of musicians (e.g. Sam Kelly - Cymande; Ray Davies - the Kinks; Neil Cowley Trio; -ISQ); and the remarkably sensitive and virtuosic Caroselli is strongly immersed in the jazz tradition with influences also from pop, rock and from Cuba (after having lived and studied in Havana for three years).

Can't Get Started opens with the rhythmically intriguing title track then moves to the deeply reflective D.C.M.. It changes tack again with the dynamically exciting and impressionistic Rush Hour (also on Morley's EP but transformed here for the trio setting) then onto the forthright and somewhat farcical Polly (Part 1). Morley's classical background clearly reveals itself in the tune Caged, resulting in a modern, spacious and contemplative yet dynamic study. Overall the album displays a rich variety of tunes (all composed by Morley) which, combined with the trio's dynamic sense of interplay and the exceptional musicianship of each band member, makes for an extremely engaging listen.

Aside from Rush Hour (originally composed for Morley's EP), the tunes were intensively written and rehearsed over a period of three months, and recorded over two separate days at Smokehouse Studios in East London. The album was successfully self-released on July 31, followed by glowing reviews (e.g. in All About JazzThe Jazz Mann) and will be launched at The Vortex Jazz Club, London, on 23 February 2018.

Morley also involves the trio in her silent film projects and was commissioned by the British Film Institute in September 2018 to write, record and premiere a semi-improvised score for The Marvelous Mabel Normand project which tours the UK and is released on DVD.