Once again, here we are in the perpetually listening to every record in my collection alphabetically and blogging unscholarly thoughts project. This installment starts stars Irene Kral and Steve Kuhn.
I don’t always turn around these posts as quickly as this one, but I spent the entire day with records on, grading tests and homework, so here goes…
Irene Kral with the Junior Manne Trio – Better Than Anything – I’m pretty sure that this was one of those Stereo Jack’s dollar bin records, and if I remember correctly, I flipped past it while mindlessly perusing and engaging in yet another fascinating conversation with Charlie Kohlhase. I remember him asking if I was sure I wanted to pass that one over: “Some pretty great music on that record.” I had no idea. Junior Manne is awesome, but so is Bob Cranshaw! And Mickey Roker! Recorded in LA in 1963. Awesome.
Steve Kuhn
Steve Kuhn – Ok, c’mon, this super deep cut is worth every minute. Kuhn is unbelievable anyway, but the whole electric Kuhn situation with Ron Carter on electric bass and double bass, plus Billy Cobham, Airto Moreira, arrangements by Gary McFarland, and “A String Quartet”…burning. You don’t have to believe me. Bill Evans writes, “One thing is certain, however, and that is that the man behind his music makes it always deserving of the closest and most respectful consideration fro those who seek the truest rewards from the creative world.” Steve also sings on this record, and he reminds me so much of Carla Bley’s singing on Dinner Music. Yeah, Steve Kuhn.
Live in New York – One cool thing to consider about this record is that it was recorded at Folk City in NYC. This club was the home to a very different kind of music than what’s heard on this record, with The Weavers and Sonny Terry rocking this stage as well. Kuhn bounces between piano and Rhodes on this record. The band is “young”, and includes Bruce Ditmas, George Mraz and Sue Evans. It was also produced by Helen Keane, so the Bill Evans connection is still in play on this record. Cool album.
Trance – I like this record a lot more than Live in New York, but maybe it’s because the musicians are not “young”. They aren’t that old, either, though. Steve Swallow and Jack DeJohnette, with Sue Evans still from the previous record. Maybe I like it more because it’s on ECM, or maybe – probably – because there is something about the mid (not early) 1970s jazz in NYC that blows my mind every time. I love Steve Swallow’s playing during this time period, especially.
Motility – Another ECM record, as the next few will be. This record is with a new band, Steve Kuhn and Ecstasy, with Steve Slagle, Harvie Swartz, and Michael Smith. I love ECM records. I love the openness of the sound and the predisposition to modal music, and the often very careful choices in instrumentation. This record is a great example. That’s also partly because of how much Harvie Swartz’ solo on “Deep Tango” reminds me of Eberhard Weber.
Non-Fiction – One of the best teachers I have ever had, in any subject, ever, is Bob Moses. This record was a great find for me because I had never heard his first recordings with Kuhn, and even Playground (which comes next) was a bit of an unknown to me. He’s awesome. He brings an energy and drive to Kuhn’s music that was sort of a missing element in previous releases, and to me, I miss in recordings after their association ended. His solo on “Alias Dash Gapey” has many of the things I love about Bob’s use of pitch and color in his playing. This record keeps Slagle and Swartz from the previous album.
Playground – Billed as the Steve Kuhn/Sheila Jordan Band, making it clear how important Sheila is to this record. Her voice is so rich and seems to tell a story with each wave over her vibrato. The band is, obviously, incredible, with Kuhn, Moses and Swartz. This version of “Poem for No. 15” is one of the greatest moments on ECM, and honestly, up there in the top 10 or so great moments in jazz in the 1970s. Incredible…but, ok, there’s the terrible splice at the end of the first verse. But aside from that, awesome.
Last Year’s Waltz (Live in New York) – The second record by my favorite Kuhn band that doesn’t include Ron Carter. Sheila Jordan is so fascinating to listen to, and with Kuhn, Moses and Swartz, man this record is killing. Moses, especially, is on fire.
Mostly Ballads – This record is a solo piano/duo with Harvie Swartz record. Beautiful. This is a nice record to end the day on because it brings Kuhn’s evolution into a great focus. His earlier fusion-y and avant garde sounds are still sort of here, as are his teenage classical piano chops, and his swinging time, and this one move of his that I totally love – grace notes. There’s something magical about the way that he uses them.