Ron Escheté (pronounced ESH-tay), the consummate master of the seven-string guitar, joins 6-string bass pioneer Todd Johnson to lay the formidable foundation of the Ron Escheté Trio. With the addition of such fine drummers as Kendall Kay, Joe LaBarbera or Paul Humphrey, this trio renders mainstream jazz with a refreshing new texture.

While Escheté has long been regarded as one of the finest guitarists in mainstream jazz, he now ranks as an innovative leader for his work with this ensemble. "The Escheté trio is as polished as the classic Modern Jazz Quartet… This is a unit that speaks with a single voice. It is a voice of brilliant musical reason." – Jim Merod, Jazz News. What is most unique about the sound of this trio is the depth and texture created by the coupling of Eschetéís seven strings with Johnsonís six strings. The outcome is "a rich tapestry of melody, harmony and teamwork," says Hal Howland for Modern Drummer Magazine.

Band leader Ron Escheté was born in 1948 in Houma, Louisiana, and not surprisingly his early influences were jazz masters Jim Hall, Howard Roberts and Wes Montgomery. Escheté began playing guitar at the age of 14, joined a quartet and was working clubs in Louisiana before he had even graduated from high school. He attended Loyola University and studied classical guitar with Paul Guma. Before he had completed college Escheté was tapped to tour with Buddy Greco and he quickly established his reputation as a premier accompanist. Over the decades Escheté has worked with the greatest artists in jazz including: Ella Fitzgerald; Sarah Vaughn; Diana Krall; Dizzy Gillespie; Milt Jackson; Ray Brown and many more.

Escheté cites a 1988 gig in San Diego as a critical turning point in his career. There he began to shed his reputation as the quintessential sideman; he stepped to the center of the stage and he began exploring original material. "Long considered to be one of the finest guitarists in mainstream jazz by musicians and listeners alike, he has now taken over the reins, and 'innovative leader' might be a better appellation," says preeminent jazz critic, Zan Stewart.