| | Frank Kimbrough Quickening CD Frank Kimbrough Discography of CDs
Recorded live at The New School, New York, New York on September 24, 1998.
Captured live at New York City's New School University, pianist Frank Kimbrough and his fellow "Jazz Composers Collective" associates successfully morph a mainstream jazz attack with progressive tendencies and more! No doubt, Kimbrough is a master of expressionism who articulates his compositions with strict adherence to melody. On this release, bassist Ben Allison and drummer Jeff Ballard generate a bevy of splintered flows and smoothly executed swing vamps. The title track might spur memories of pianist Keith Jarrett's '70s quartet, sans saxophonist Dewey Redman. Here, Kimbrough incorporates a Monk-like sense of rhythm atop a loose groove, awash with subtly rendered deviations. Yet, one of Kimbrough's many calling cards resides within his penchant for reworking a melody line within the context of any given composition, as they instill a sense of perpetual motion into these works, regardless of tempo.
Years of performing together amid various projects are profoundly showcased here. In addition, the musicians effortlessly glide through sensitively conveyed ballads and mid-tempo swing vamps. More importantly, Kimbrough continues to shine as a formidable modern jazz composer. (Fervently recommended). ~ Glenn Astarita
Frank Kimbrough Trio: Frank Kimbrough (piano); Ben Allison (bass); Jeff Ballard (drums).
Personnel: Frank Kimbrough (piano); Jeff Ballard (drums).
Liner Note Author: Frank Tafuri.
Recording information: The New School University Jazz Performance Space, New Y (09/24/1998).
Photographer: Frank Tafuri. Frank Kimbrough Quickening Songs Quickening Review
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$18.99 With his second record, Love Songs From the Outskirts of Bliss, Jonathan Pointer produces haunting portraits of love, self-doubt, and the passage time, all delivered with a wit, wisdom, and sense of craft and focus that sets him apart from the usual pack of singer/songwriters. Pointer's songs -- dour yet droll, self-effacing yet confident -- illustrate life's contradictions with candor and grace, whether caught up in self-examination, trying to mend a broken heart/home, or rationalizing the realizations of either. And while he'd like "a little adoration" from others, about the best he can muster on his own behalf is mere acceptance. Pointer will occasionally go for the big emotional moment, but more often than not he settles for the smaller ones, and it's these which leave the most lasting impressions. Musically, it's these same sorts of subtleties that create the perfect aural atmosphere for the material, which is primarily built around his understated, superb guitar. Every little touch, from the Kurt Weill-like violin, guitar, and accordion interplay of "Washington St." to ambient electric guitars, or even a ukelele solo, is always in the service of the song. Pointer owns a hoarse baritone that brings to mind early Tom Waits, whose influence is apparent on one of the album's best tracks, the carney-inspired "Arcadia," with it's cast of sideshow freaks and whores. But it's another similarity to Waits that helps make Love Songs so good. Pointer draws inspiration from various points on the musical map to create something that is not only special, but his own. Self-produced, along with Crit Harmon, Love Songs From the Outskirts of Bliss is a truly impressive second outing -- poignant, intelligent, and sophisticated. ~ Brett Hartenbach
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