Steve Kuhn is generally not thought of as a solo pianist because he has rarely recorded in that format, but this 1990 concert at Maybeck Recital Hall is one of his most memorable releases. "Old Folks" is a chestnut favored by a lot of swing and bop pianists, but Kuhn's unique approach to it explores a larger range of the keyboard than most players, while powering it with a striding bassline that alternates a lot more than one would expect. He has a lot of fun introducing Miles Davis'"Solar," at first playing around with what sounds like a Scottish dirge and sneaking into a bit of the song while giving it an Oriental flavor, before getting down to business. Both "I Remember You" and "Autumn in New York" are long but fascinating interpretations, as the pianist deconstructs and rebuilds each of them with very fresh approaches. This very satisfying concert CD is well-worth acquiring. - Ken Dryden
Kuhn's last solo piano album was the 1976 studio recording, "Ecstasy." Live at Maybeck Recital Hall is his real coming out as a solo pianist, a perfect showcase in a warm and intimate room, with a packed house and the complete freedom to play whatever he felt.
"At Maybeck, I had a list of 25 or so songs, but I didn't know what I'd play until I sat down and started." Even then, while the tune itself may be fixed as to basic melodic and harmonic structure, Kuhn reinterprets the piece depending on the spirit of the setting and moment. "Each time I've performed these tunes, I've played them differently. And when I play alone, they can change drastically."
The one constant in the Maybeck series recordings is owner Dick Whittington's introduction of the pianist. From there the artist takes over, often revealing facets and depths of inspiration unheard of in previous group recordings. That's the beauty of this series, taking both well‑known and less familiar pianists and giving them free rein to create.
Solar is composed by Miles Davis. "I heard it in 1954 on Miles'recording with Kenny Clarke and Horace Silver. It was structurally unusual at the time. A 12‑bar form, but it's not a blues. Rather than a harmonic resolution on the final bar, it goes right into the next chorus... a sort of circular form. And, it's got a dark, somber mood to it, I do it with the trio; it's a good vehicle for improvisation." It's also a good example of how Kuhn reworks a tune to fit his own style. He begins with a one‑hand, single‑line introduction, and slowly works into the actual tune, the spareness adding an austere, lonely feel. Then he picks up to almost swing tempo for the midsection, eventually taking off with a fast‑walking left‑handed bass line, while the right hand romps all over the harmonic structure, then shifts down for a more thoughtful conclusion. Although it's easier to discuss how he leaps over preconceived notions of song forms, his uniqueness stems from his ability to draw the listener into a specific feeling or mood, gradually running the emotional gamut. It's the overall experience, not just the beauty of the playing, that makes Kuhn's performance memorable.” – Larry Kelp
Tracks
1. Old Folks
2. Solar
3. Do't Explain
4. I Remember You
5. Autumn In New York
6. The Meaning Of The Blues
STEVE KUHN piano
Recorded liv e at Maybeck Recital Hall, Berkeley, CA, November 18, 1990
Concord Jazz - CCD.4484