Trible has clearly learned much from his mentors. While his vision seems deeply indebted to the late Tapscott, the association with Sanders is perhaps the most helpful in describing his sound to someone unfamiliar with his style. If I had to compare him with one singer, Leon Thomas in the era of Sanders albums like Karma and Jewels of Thought would be the one. There is the same deep baritone and oversized spiritual vibe, and he does quite effectively tackle that repertoire on stage with Pharoah. Yet this is not quite a perfect comparison. Trible's technique is different, subtler and yet no less powerful. He gets the maximum expressive effect from his voice with his wonderful elongated phrasing and trombone-like vibrato bordering on tremolo.
Dwight Trible is joined by a fine cross-section of L.A artists on the nine inspirational tracks that make up Living Water. Bassist Trevor Ware holds down the bass and Daniel Bejarano the drummer on most of the date, while Bobby West, Harold Land, Jr. and John Rangel alternate at the piano. Numerous others make contribution, including saxophonist Charles Owens who adds some exotic soprano on "Ishmael" and player Derf Reklaw who adds congas to "John Coltrane" and "Africa." Interpolated into the latter is a reading of "The Living Waters" by the poet Kamau Daaood.
Most of the fare, then, is heavy and metaphysically dense. Standing out are a couple of lighter, if no less intense, pieces. Freddie Hubbard's great "Little Sunflower" is given a gentle reading by Trible, and a fine and lovely take of the standard "Wild is the Wind" is also included, highlighted by the playing of Rangel. Living Water is a powerful collection to be enjoyed by Trible's admirers and newcomers alike, a solid addition to Dwight Trible's growing legacy.