Customer Reviews

Air

5 star:		(3)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

First off, let me say that I'm quite surprised I am reviewing this album before the peerless reviewer Jan P. Dennis, aka "longboardjazzer." Mr. Dennis, a tip of the hat to you and many thanks for all your thoughtful, spot-on reviews. This is my first review on Amazon, and there's no way that I can come close to reaching the literary heights which Mr. Dennis achieves in his reviews. However, I shall try, and I also hope to convey just how good this album is to those who've not heard it.

It was not "longboardjazzer" who first turned me on to the esteemed Frank Kimbrough... I have Ben Allison, Maria Schneider, the Jazz Composer's Collective, and a musician friend in my native Wilmington, NC to thank for that. If I had to sum up Kimbrough's first solo recording in one word, that word would probably be "ethereal" (as the album title might suggest). I'm simply blown away and profoundly moved by this recording, and more so with each successive listening.

A brief note on a few of the tracks. "It Should Have Happened a Long Time Ago" is a haunting and esoteric rendition of the Paul Motian tune from the ECM album of the same name. Kimbrough's take is as poignant as that of Motian, Lovano and Frisell's, with a floating yet foward-moving feel. "Quickening" needs no introduction to Kimbrough fans; suffice it to say that it's wonderful to hear a solo version of this bluesy, ambling (but by no means meandering) piece. I also love it how Kimbrough and the afore-mentioned Ben Allison often revisit previously-recorded tunes---it's wonderful to hear the artistic evolution. "Coming on the Hudson" has an urgency and a left-hand vamp that, to me, is slightly reminiscent of Vince Guardaldi. The title track is as light and effervescent as its name implies. Mingus' "Wig Wise" gets a whimsical, unhurried treatment which is a nice change from the more frenetic version on the classic Ellington-Mingus-Roach recording "Money Jungle" and, more recently, Jason Moran's "Facing Left." "Three Chords" is poignant and slightly Debussy-esque, show-casing Kimbrough's sonic story-telling skills. "The Spins" is a snake-like composition which was also recorded on Kimbrough's 2006 trio-date (and quickly becoming one of my favorite albums) "Play." Again, it's nice to hear a solo rendition of this tune. The Monk composition "Jackie-ing" is playful and a bit more deliberate than the Monk version (at least to my memory); I love the chime-like sound Kimbrough gets with his chords, as well as the stride-like feel to the tune. "Ca'lina," I'm guessing, is a nod to Kimbrough's (as well as this reviewer's) native North Carolina; it has a low-down, diverse (just like NC itself), rambling sort-of feel with a sufficient dose of stride thrown in for good measure.

Hint: not to detract from Amazon's sales, but if you purchase the mp3 album off Palmetto Records' website, two bonus tracks are included. Those are "Three Chords V1," which, like "Three Chords," seems to drift along dreamily while being equally moving; and "C Minor Waltz," which, to this listener, illustrates Kimbrough's mastery of the pedal...his tone has a bell-like clarity throughout this medium-slow tempo waltz.

If you've followed Frank Kimbrough's recordings as a leader (Chant, Quickening, Saturn's Child, The Willow, Lullabluebye, and Play, to name some of my favorites) you will not be disappointed---in fact, you'll love this solo outing. If you're new to Kimbrough, you're in for an aural treat...here's an artist with vision, a consummate pianist, and a human with a sense for the ethereal. This is a recording which gets better each time it's played.

At the age of 57, I am a latecomer to Frank Kimbrough, but as the saying goes, better late than never. What a joy his music is (at this point I only have this CD and one of his trio recordings)! I can understand why one reviewer, Jan Dennis "longboard jazz", rates Kimbrough at the THE very top of his list of favorite jazz pianists. I'm not there yet, but he is definitely a stunning talent. (What a joy it is to "discover" Kimbrough around the same time I am "discovering" Robert Glasper and Matthew Shipp!)

IMO, solo piano recordings are a very difficult art form, much more so than would appear at first glance. Lots have tried and most have not recorded anything that captures these ears. Bley has been among the most captivating; in fact, Bley is the ONLY jazz pianist whose solo work I consistently prefer over his ensemble recordings. Perhaps it is no surprise that Kimbrough excells as well, because Bley's influence is obvious, as Kimbrough himself acknowledges. Yet at the same time, Frank has his own totally unique style and sound. All those hours playing solo before unappreciative audiences and being underpaid at the same time have paid off big time!

This is a wonderful CD, and I am much more inclined to listen to Kimbrough play unaccompanied than someone such as Mehldau (whom I adore in trio formats.) I intend to gradually purchase everything Kimbrough has recorded, and I hope he will have the opportunity to put out more solo CDs. He is an amazing talent, and one of the few who can truly, truly excel in both an ensemble and solo format.

On an existential note, it is recordings like these that quite literally help me to hang in there, and for that, I owe Frank as well as a number of other musicians whose music serves as a healing balm a deep bow.

Casualmente, al saber que en mi ciudad, Manizales, Colombia, se íba a llevar a cabo una vez más el campamento de Jazz que desde hace 3 años patrocina el Colombo Americano, y a la par se celebraría el Primer festival internacional de jazz universitaro, donde participarían grupos provenientes de las escuelas de Cincinatti, Baltimore, Manizales, y de Nueva York, representado por un grupo del Julliard, se invitaba también a un taller de improvisación dictado por el pianista Frank Kimbrough. Como no conocía al pianista, solicité a través de Amazon 2 cd, uno de ellos AIR y oh! sorpresa, que delicia de interpretación, había pulcritud, entrega, energía en cada uno de sus temas, con composiciones propias y de grandes como Ellington, Monk y Motian, Kimbrough nos conduce de lo etéreo a lo terrenal, con una facilidad propia de los Maestros, y, con un sonido cuidadosamente controlado por el sentimiento.

The music was very light but very sophisticated. This pianist is very similiar to Paul Bley. I would buy other cds by this pianist.

I purchased the album based on hearing the Monk tune - absolutely beautiful and innovative. The first cut is reflectivd and very nice. The rest are middle of the road jazz - nothing special. To me, very disappointing. The talent is there, but I think the target audience, by design, is mainstream. Of course the mainstream won't like the Monk cut. Screwed again by the record companies. By that I mean you buy an album for one 3 plus minute cut and the remaining cuts you don't listen to. I'm really glad the record companies are in poor shape, as they've never cared about the consumer, only money. At 68 yrs. I can assure these money mongers that I've purchased over 1,000 albums and sever hundred CD's. I grit my teeth every time I find one or two cuts I like out of a whole album. Yes, the artists pander to this culture, but they have to make enough money to live. So I find it hard to blame them. They still have to travel to Europe make enough to survive. Too bad they can't make enough money to live off what's in their heart.

Jazz Enthusiast