Label: Sunnyside Records, 2021

Personnel - Frank Kimbrough: piano; Kirk Knuffke: cornet; Masa kamaguchi: bass.

American pianist/composer Frank Kimbrough passed away in December 2020, leaving the jazz scene missing not just his music but also his pedagogy and charisma. This posthumously released album recorded with the cornetist Kirk Knuffke and the bassist Masa Kamaguchi in 2017, leans toward the introspective and comprises seven of his original compositions, three improvised duos (two with Knuffke and one with Kamaguchi), and a piece written by his wife, the singer/pianist Maryanne de Prophetis.

“Waiting in Santander” gets off the ground in a transcendental suspension where everything feels very musical. Kimbrough actually wrote it in the Spanish city referred in the title while patiently waiting for a piano to arrive, but that frustration acquired a pacific temper here. This is the first of three numbers culled from his 2006 album Play (with Kamaguchi and the influential late drummer Paul Motian). The others are “Beginning”, a beautiful ballad whose enlightening melodies and harmonic movement recalls the drummer’s music, and “Jimmy G”, a poised blues written for clarinetist/saxophonist Jimmy Giuffre, which flows overtly with a disarming composure.

The delicate “November”, a highlight, reveals lyrical pianism and tender chords, woody sprawling bass notes and the warm brass sounds sliding over the harmonic tapestry. Taking into account that this was the first musical connection between the bassist and the cornetist, the natural playing between the threesome is excellent. “Over”, which takes the piquant flavors of Herbie Nichols’ style all over the place is a good example, as well as “Ancestors”, an old piece that celebrates Kimbrough’s deep Southern roots.

Following the haunting piano/cornet duo “Solid”, the record comes to an end with de Prophetis’ wistfully harmonized “All These Years”, a piece she wrote for her father.

Kimbrough’s sonic universe is tremendous. Considering he was a musician of rare touch and substance, that’s not surprising.

Favorite Tracks:
03 - November ► 07 - Beginning ► 09 - Over

Frank Kimbrough: piano; Jay Anderson: bass; Jeff Hirshfield: drums.

Frank Kimbrough is a fulfilling pianist, a precious element of the New York jazz scene, who deserves the accolade for his musical capabilities, shown both as a bandleader and sideman. His influences range from Keith Jarrett and Bill Evans to Paul Bley and Andrew Hill. Recognized bandleaders such as Maria Schneider, Dewey Redman, Michael Blake, Ted Nash, and Ben Allison, with whom he co-led the Herbie Nichols Project, elevated his pianistic talents within their own projects.
Solstice, Kimbrough’s first album on Pirouet after a longtime association with Palmetto, adopts the introspective moods of the Bill Evans trio as it explores the music of composers such as Maria Schneider, Annette Peacock, Andrew Hill, George Gershwin, Carla Bley, Paul Motian, and Maryanne de Prophetis.

Bley’s “Seven”, a pensive ballad that offers us a quasi-soluble melody over complacent, simplistic textures was the chosen tune to open the album.
The next move is no less than bewildering: “Here Come the Honey Man” is a Gershwin tune that doesn’t sound like Gershwin. The imminent electricity of Hirshfield’s cymbal work, together with Anderson’s encouraging bass lines, enriches the bandleader’s strong harmonic passages and contemplative lyricism.
The title track, composed by de Prophetis is a sluggish, dreamlike 3/4-meter piece that features Anderson’s bass solo.

With drums and bass solos right after the head as a special attraction, Motian’s “The Sunflower” reclines in the abstraction while Kimbrough’s unique composition, “Question’s the Answer”, is one of the most satisfying. It moves at a reverberant 6/8 time, guaranteeing inquisitiveness and expressiveness in considerable proportions. Clearly, the trio was more concerned with the overall sound they may extract than with any type of individual ride.
The recording’s couple last tunes deserve to be mentioned for their intensity and powerful interplay. “El Cordobes”, composed by Annette Peacock, was assembled with an incisive groove at the base, involving us with the stirring vibes poured from the interesting rhythmic and melodic ideas generated. Maria Schneider’s sweet ballad “Walking by Flashlights” opposes to the latter tune by irradiating warmth and serenity.

The untroubled condition in Solstice invites us to meditate, suggesting tolerance as it breathes comfortably at every note. It describes mostly peaceful atmospheres as it attempts to convey that the world and we are seen as one. This is a ruminative work that the ones looking for quality would be content to discover…

Favorite Tracks:
06 – Question’s the Answer ► 07 – El Cordobes ► 09 – Walking by Flashlights