The JC Group Giveaway/Review - Mark Kleinhaut 3 + Bobby Watson - A Balance of Light

[Lois Gilbert]

Mark Kleinhaut, who is a frequent poster at Speakeasy, has also launched his new site on JC. To celebrate the launch of his site and his new cd, A BALANCE OF LIGHT, Mark has 10 copies for you to score.

The cd is getting rave reviews (just look at Mark's reviews page) and I submitted it as one of my top 10 CDs to JazzTimes.

It's Mark's trio:
Mark Kleinhaut - guitar
Jim Lyden - bass
Les Harris, Jr. - drums
w. special guest Bobby Watson - Bobby plays on all tracks (all originals from Mark) and he sounds unbelievably great.

Ironically Bobby and Mark connected (according to the liner notes to Balance of Light) when Mark visited Bobby's website here at JC.

Give a listen at Mark's site from the jukebox or by going into his recordings page (you manually need to turn off the jukebox to hear the real audio sound bites on his recordings page) and if it's your cup of tea or java and you're one of the first 10 to email me at lois@jazzcorner.com with your user name, real name, address, phone # and subject Mark Kleinhaut - you got it.

Good luck and enjoy as I know you will.

[Lois Gilbert]

Thanks everyone who submitted to review Mark Kleinhaut's A Balance of Light.

The following were lucky enough to receive a copy:


1. Chris DuPre
Madison WI

2. ormsbop
Medway MA 02053


3. Dick Trickle
Aliquippa, PA

4. Tanager
Durham, NC

5. S8nochaser
San Jose, CA

6. Bill Barton
Lynnwood, WA

7. Kevin Bresnahan
Atkinson, NH

8. Strich
Alexandria, VA

9.claude
Fredericton NB Canada

10. John B
Barre, VT 05641


If Mark mails them on Monday or Tuesday, given the holiday (not for you Claude) let figure a group review by December 15th. Please post when you receive it. I think you'll really enjoy and we're looking forward to your reviews.

Peace
Lois
for Mark Kleinhaut

[Mike Schwartz]

For those not among the lucky 10 listed above, you can hear several entire tracks AND Mark himself, as he's been kind enough to do an artist feature/interview on my weekly "Straight No Chaser" Broadcast on Sunday, December 28!

It just so happens that we've just begun to play Mark's new CD at KSJS and www.ksjs.org....at 12Noon Eastern/9AM Pacific time 90.5FM [SF Bay Area] and www.ksjs.org for one hour of music and conversation with Mark and I 12/28/03!

Just letting a tiny bit of the cat out of the bag....this CD is a winner!

[Kevin Bresnahan]

Got mine Saturday and spun it with my 11 year old... the budding clarinetist. I got her to smile a couple of times when I pointed out some stuff that was going on. It's very good but since I listened to the sound samples on his web site first, I'm not surprised. So far the only surprise is how old this is making me feel! Bobby Watson looks like a Granpa! 50? Man, is he really that old?

Later,
Kevin

[John B]

disc received. I spun it once with guests still here on Saturday. I need to give it more of a focused listen later on today but I have enjoyed it so far.

[Lois Gilbert]

Great

I told you you'd like it... So Dec 15th sounds very doable...

Best Lois

The cds are available for sale for $16 including shipping & handling on Mark site now

[Tanager]

After a first (and admittedly not entirely focused listening), the fifth track, I think, stood out as a particular favorite - I'll try to get a review out this weekend.

[chuckyd4]

[Warning... long post]:

Well, it's before Dec. 15th, but I thought I'd kick things off over here, as I think this was a great disc, and hope it gets lots of discussion. Mark was kind enough to send me a copy, and I'm taking the liberty of posting this over here.

I wrote this orginally for my website, Sudden Thoughts, and you can find the link in my profile (please visit!). We have reviews of a lot of other stuff everybody here would be interested in.


Review follows:

Maybe it is the willowy sound of Mark Kleinhaut’s open reverb, maybe it is the mercurial authenticity and direct emotional impact of Bobby Watson’s sure-fire phraseology, maybe it is the unobtrusive, simpatico rhythm section – the point is that A Balance of Light (comprised of eight of Kleinhaut’s open-ended compositions) shimmers and shakes with formidable power, a surfeit of appealing sounds surfacing like the vague warmth of a sun in the woods. Careful to avoid seeing the forest for the trees, however, the sensitive listener must take into account the creativity of the individual compositions and the technical prowess of the improvisations layered over the top of them. Meaning, primarily, that this is a subtle recording: not a thinly-veiled way of saying it’s not very exciting (quite a few of the tracks get the blood pumping), but that its riches lie in its abilities for phrasal economy, lyrical expressiveness, and its delicate balance of instrumental voices. One look at the bleak and beautiful view (included in the booklet) of a January afternoon outside the musicians’ studio in Maine, with its stirring contrast between the luminous sky and bare-bones pine trees, and one will have an idea of the balance of forces at work here.

Kleinhaut talks in a funny way in the liner notes about the panic that struck him upon the realization that he had to compose for Bobby Watson, as this project was coming together; it is funny, in retrospect, because the loose, confident compositions are one of the album’s strongest assets. They all have a similar open quality – the soloists are allowed ample room to maneuver, and offer shifting moments of dialogue – but they are anything but uniform. “Field of Greens” moves back and forth between measures of two-tiered intervallic leaps (reminiscent of early Ornette Coleman) and a loping line full of bluesy minor thirds. “Four Lane Clover” settles into a tense ascending line that fits perfectly with Kleinhaut’s sound – an evocative mixture of clean articulation and blurry rhythmic phrasing; it is built around the alternation of a prodding vamp section and a relaxed, breezy one. “Summers” bookends an interesting, if not totally successful, free-form dialogue with a laid-back, homecoming theme – an exercise in contrasts that ambitiously pits the comfort of melodic repetition against the exploration of unstructured surprise. Most appealing, however, is “Erikita,” an expansive platform for musical conversation between instruments, eras, and approaches: it slinks with the bowed bounce of the best Gypsy jazz, but benefits from the fleetness of Watson’s bebop-inflected articulation. This is not revolutionary stuff, but that is like looking for lumber when there are trees – it is a pre-conditioned bias against what already exists, ignoring the beauty of its natural resonance. Mostly, it is to miss the point, a variety of songs played with care-worn, straightforward camaraderie.

And clearly, Kleinhaut, Lyden, and Harris felt a great deal of respect for Bobby Watson, but the single most accomplished attribute of A Balance of Light is the way the alto saxist organically meshes with the proceedings. As featured guest, Watson neither hogs the spotlight nor stays at an aloof distance; rather, he engages the material as part of a group, granting silences where they are called for, stepping up to blow when it is his turn. Stylistically, he is a member of the second line of Parker disciples that includes a Cannonball Adderley or a Sonny Stitt, but it is tempered by the revolution in melodic development available to the post-Coltrane 1970’s, with its rhythmic urgency and emotional honesty – this vertical style is the perfect complement to the logical development of the harmonic progressions here. It is also a fine complement to the other major soloist, Kleinhaut himself, whose uncluttered lines are peppered with an array of rhythmic stutters, bluesy turn-backs, and openly strummed octaves. Their implicit understanding of the nature of dialogue results in an openly embraced jazz aesthetic that still faces forward: dig the unaccompanied breaks between the two at the opening of “South of Mason,” or the unison reading of the theme of “Start it Up,” where Kleinhaut subtly shifts octaves over the top of Watson. There is no sense of showmanship here, just an unpretentious conversation between comfortable stylists. “Start it Up” is an up tempo example of such, extended solos by both working their way through similar ideas about tension-building dramatics, the final simultaneous solo section serving as the heady punch line.

There is a long-standing tradition in the jazz world – unfortunately not so common in these days of overpriced, heavily-formatted jazz venues – of up-and-coming talent going to school against their inspirational elders. A Balance of Light puts an interesting spin on it: Kleinhaut isn’t exactly a spring chicken, and his trio is a group of already mature musicians. Still, this album is clearly an entry in the lineage of younger talents testing their wares against one of their elders. Where Kleinhaut shines is in his ability to couch that challenge within the attractive, shimmering structure of his own musical approach. His own voice is well represented throughout, by his balance of the tidy and turbulent strains of his musical vocabulary. The tenacity of his optimism befits the edgy clarity of Watson’s alto; A Balance of Light benefits from this organic sympathy.

[Bill Barton]

Impressions… Multiple melodic contrafacts in (mostly) mellow conflagrations, burning without reaching uncontrollable bonfire stages. Is it just me, or does Bobby Watson seem somehow different on this CD? Maybe it’s the combo, the recording engineer or just time passing, but the vibe is way disparate from that I recall from live performances in the 1980s or a bunch of CDs in ensuing years. Only way I can describe it is Jackie McLean vis-à-vis Paul Desmond. Or perhaps Johnny Hodges and Benny Carter finally holding sway over the Bird influence. What can I say? It’s beautiful, sometimes transcendent, alto playing! Mark’s lucent tone, clear ideas and sometimes skewed take on “the tradition” keep everything fresh. And that’s only one tune (“South of Mason.”) Come drizzle or come haze? If I only had a heart and/or a soul? The Jim Hall with Paul Desmond connection is obvious on this piece. Quite lovely.
There’s expansiveness, a broad range of styles and emotions, spot-on musicianship and loving care everywhere here. The delicate harmonics of the guitar intro and intriguing textures of the bass line on “Erikita” (Brazil + Argentina + “Blues – The Common Ground…”) The percolating gradual warm-up of “Start It Up,” Jim Lyden waxing Richard Davis-esque… The mid-to-late 60s Blue Note groove of “Field of Greens,” with Mark and Bobby locking in in a way reminiscent of Pat Martino and Eric Kloss, or Martino and Gregory Herbert…
Snap and presence. Grit and resilience. Resonance and beauty. Depth of perception.

[claude]

I will start by saying that I will not attempt to describe any of the technical “nuances” of this CD, because I don’t have the knowledge to do it. This will be a description of how this music has hit me and hopefully that may be helpful to anyone considering buying this CD.

Let me start by saying that I love this CD!

The liner notes written by Mark himself make reference to Bobby Watson’s playing and that his playing, to paraphrase, is hopeful and that this was the source of the CD title “A Balance of Light”. I have to admit that I was not familiar with Bobby’s playing prior to hearing this CD, further confirming my jazz novice status, and I have to agree that his playing on this disk manages to be joyful while still retaining complexity and interesting solos. There is what I believe is a circular breathing section at the beginning of the third track “Four Lane Clover” that manages to avoid sounding like the technical exercise that many players make this technique sound. The overall feel is one where there is a real simpatico between Bobby Watson’s playing and the compositions and the other players so that everything done is in the service of making the whole of the music sound warm and inviting.

The source of all of the fine music is, of course, Mark Kleinhaut. All compositions are his originals and were written with the playing of Bobby Watson in mind. There is a feeling that this music was meant to be played by this group of musicians and no others, it fits them that well. Mark is a technical virtuoso (in my very humble opinion) but does not flaunt it here. Mark seems to be content to let Bobby Watson take the limelight and his solos and background riffs seem mainly in support of the ideas and directions that Bobby takes the music. That is not meant and should not be construed as saying that Mark’s playing is weak, it is anything but. He just seems to be letting Bobby take the lead through most of the Disk.

The rhythm section of Jim Lyndon on bass and Les Harris Jr. on drums is solid in the best sense of that word. They give Bobby and Mark plenty of foundation on which to build the music. The arco bass work on “Erikita” manages to give this tune an original feel. I get a vision of a very sexy dance (something like a tango only better) from this tune and I think the bowed bass and the soft drums are the main source of that feel.

Overall, this is a piece of music that I can listen to under just about any circumstances. I have listened to it while I have been working and found it to be excellent background. This is also an excellent piece of music to relax with and unwind at the end of the day. It also has plenty of substance and stands up to close listening, never sounding derivative or banal to me. This also would be an excellent disk for someone who is new to jazz and is looking for a guitar trio with sax that they can listen to. My wife is not a huge jazz fan in general but is a big fan of Pat Metheny and likes some of the more melodic jazz that is a heavier on strings than horns. She really liked this one and thought it was “smooth” in the sense that a Pat Metheny trio recording would be. Before everyone jumps all over me, she meant smooth in the literal sense in that it doesn’t have the jarring aspect (to the uninitiated) that many recordings with alto sax as one of the main horns has. I told her that Mark would probably wrap a guitar around her head if she told him that his music was smooth. She said she doubted anyone who could make such beautiful music would do anything so violent.

I want to thank Mark and JazzCorner for the opportunity to hear this disk and to post my comments. I hope my ramblings make some sense.

[Kevin Bresnahan]

I had never heard of guitarist Mark Kleinhaut. I probably never would have "heard" him at all if the name "Bobby Watson" didn't jump off the screen at me when Lois & Jazz Corner offered Kleinhaut's latest CD, "A Balance of Light" for review. In my book, Bobby Watson = my kind of disc. Before offering to review this, I went and downloaded some samples and heard some nice relaxed Jazz with some pretty damn good Bobby Watson. I was not disappointed. It is nice relaxed Jazz with some pretty damn good Watson but with an added bonus of some pretty damn good Mark Kleinhaut to boot.

The thing that struck me right away about this CD was the beautiful compositions. There is a nice feeling of continuity between the tunes. Kleinhaut seemed to write these pieces as if every one of them was custom made for Bobby Watson. If "Mark Kleinhaut" wasn't on the CD as the leader, I could easily have thought that this was Watson's date. Kleinhaut's trio made him seem like he has been with them forever.

Ferdinand and Isabelle – Nice medium tempo with Kleinhaut's guitar and Watson's alto meshing very nicely. This is true throughout the disc. Watson's solo seems to flow as a stream of consciousness. The sound mix on this song is off a bit… not necessarily bad, but it seems like Watson is way up front and bassist Jim Lyden is nearly inaudible. I know it is only the first song, but Kleinhaut's sound reminds me of latter day Pat Martino. That has to be a solid body guitar!

Long Look Back – Nice ballad. For some reason, the sound seems more open. Bassist Lyden is more audible. Weird how this changes. Man, can Watson blow. This tune was very relaxing… although throwing a bass solo in the middle of a relaxing tune runs a very big chance of putting some listeners (like me) to sleep. I am not a huge fan of bass solos. Wake me up when it's over. Ahh, Kleinhaut follows the bass solo with a nice solo of his own. Now I’m awake.

Four Lane Clover – A solo intro by Bobby Watson! I never tire of Watson's solo performances. I have always put on his piece "If Bird Could See Me Now" off of his "Appointment In Milano" CD whenever I want to impress someone with Bobby's playing. Once the tune gets going, I am again amazed how well the guitar and sax mesh on the melody. Once again, I can’t hear the bass, that is, until he solos and even then, it sounds a bit muddy. Bass solo number 2.

South of Mason – Nice call & response introduction. You get a feel for the room acoustics with this intro. Just a little echo. Medium tempo… a lot of the tunes on this disc are taken at a medium tempo. I like this tune. Good swing with a little shuffle beat. No bass again. Am I blocking out the bass? I just don't seem to be able to feel it. Not to harp too much, but bass solo number 3. Aye caramba.

Field of Greens – What does this intro remind of? Some cartoon show I used to watch when I was a kid? I'll remember it some day. Playful tune. It seems that when the drummer lightens up the beat, the bassist comes through better. I wonder if the bass was positioned close to the drummer? Might explain why he goes up and down in the mix. Bobby's kind laid back behind the beat a bit on his solo. I like it. A nice blues feel. This is my favorite track on the CD.

Start It Up – Solo bass intro. Now this doesn't seem to bother me too much. Why is that? Anyway, after the intro, Watson and Kleinhaut come in with perfect harmony. I really can't get over how well these two mesh. Nice up-tempo solo by Kleinhaut with some effects thrown in. The band really seems to get it going during Watson's solo. The bassist gets another solo? In the same song? "Start It Up"? "Slow It Down" might be a better name. Too many bass solos for one song in my book.

Erikita – A beautiful solo intro by Kleinhaut. There seems to be more solo intros on this disc than I have ever heard. They are used to good effect. The arco bass accents are a nice touch. They give the tune a Latin feeling like a samba.

Summers – Nice mellow intro. Light and airy… like summer? After the intro, the vibe turns into a sort of rumble with the players added flashes and touches here and there. Not free by any means but less structured than the other tunes on the disc. Maybe Kleinhaut’s trying to get the listener to feel like there's a thunderstorm brewing with the mellow intro and the build up to the crashes? After the climax, the tune settles back down. The calm that follows the storm? Not many composers get me this into the analysis of the song titles as much as this one. I dig it.

Overall, this is a tremendous CD… other than having just a few too many bass solos for my taste, but I've always said that this bass aversion is my fault, not the artist's. It is an absolute must have for Bobby Watson fans.

Mark Kleinhaut's a new name for me but one I will watch for in the future. Best yet, Kleinhaut and his trio are based in nearby Maine. I will definitely catch these guys if I can.

I want to thank Mark Kleinhaut and Lois at JazzCorner for the chance to hear this disk. I hope my "review" will incite others to check this disc out as well.

Kevin

[Chris D]

Big ears and a tremendous amount of empathy are on display in “A Balance of Light,” from guitarist Mark Kleinhaut and his trio, with special guest Bobby Watson.

Recorded January 2003 in Brunswick, Maine, the album features eight Kleinhaut originals. While none of the tunes leaps to instant-standard status, they display an ear-stretching harmonic framework and the backdrop for some extraordinary interplay.

The esteemed Watson is no mere guest called in for a few solo choruses on extended jams. Following a successful collaboration blending trumpeter Tiger Okoshi with the trio on Kleinhaut’s earlier CD “Chasing Tales,” the guitarist’s new arrangements fully integrate Watson into the group’s sound.

Take, for instance, the opening “Ferdinand and Isabelle.” The tune opens with a light Latin head, with Watson and Kleinhaut doubling the intricate melody. Watson lanches into the first solo, a dancing escapade with a sympathetic trio rolling hard beneath him.
Here and throughout the disc, Kleinhaut’s attack is clean and appealing. For the solo that follows Watson on the lead tune, he employs a straightforward tone that will be familiar to fans of Barney Kessel. In other spots, his setup and sound bring to mind the Pat Metheny sound of “80/81” vintage.

Kleinhaut and Watson play off each other well, as in “South of Mason,” which opens with a nice piece of dialogue before settling into a mellow blues groove.

Most tracks have an open, airy feel to them, a sense of the outdoors. In his notes, Kleinhaut notes the impact of vacations in Cape Hatteras, North Carolina, a region where the ocean and sky meet. Likewise, Bunganuc Studio, where the disc was recorded, overlooks a forested area that was caped with snow last January.

The mix of those elements – tunes inspired by a warm coast and recorded in a chill winter setting with an open sky calling – give the music an atmosphere that recalls, in a way, some of Ralph Towner’s more successful discs or the work of the Keith Jarrett-Jan Garbarek quartet. (Indeed, the closing “Summers” sounds as if it could be a discovered relic from Jarrett’s “Belonging,” a dancing melody that gives way to a sensitive rubato section, then finds its way back to the dance. With, of course, a guitar in place of the piano.)

The feel likewise recalls, in some odd way, Daniel Lanois’ gorgeous solo albums, which, while of a definitely different style, are imbued with the sense of the performer’s native Canada.

Watson’s recorded sound here differs from the approach I’ve heard him employ on such masterworks as "Appointment in Milano," “Love Remains” or the Johnny Hodges tribute “Year of the Rabbit.” I don’t know whether it’s the studio, the microphones or what, but his tone here, for lack of a better word, is more brainy, more in line with someone like Garbarek or Lee Konitz, sonically anyway.

The studio sound is intimate and alive; Jim Lyden’s arco playing is full and resonant, and Les Harris Jr.’s drums on a “Field of Greens” solo are so finely miked one would likely hear if the bass pedal were not oiled properly. Played on an AMC CD player through a Harmon/Kardon integrated amp and mid-level Mission speakers, it does indeed sound as if the four players were in the room.

The players get space to breathe – six of the eight tracks approach or top eight minutes, and none feels overextended.

A highlight of the session for me comes very late in the disc – “Erikita.” The tune starts with a whisper as Kleinhaut lays out a gentle line all by himself; it eventually settles into a slow sort of samba, with a quietly intense solo from Watson, brain-stretching work from Kleinhaut and some of that fine arco work from Lyden.

This is intelligent, well-played music, with heart that matches the IQ.

[chuckyd4]

"Erikita" seems to keep popping up as a favorite (it was definitely one of mine too). I was just wondering, though, did anybody else besides me hear a quality that sounded something similar to the Hot Club sides with Django? That's what immediately jumped out at me when I heard that bass line.

[Mark Kleinhaut]

Hey everyone, thanks for these great reviews! It's really interesting for me to read these comments and get this level of subjective feedback. It helps me learn and grow. I look forward to the rest and I hope that if anyone has any questions for me you'll feel free to post them on this thread. Peace, all.

[John B]

Mark -

your comments in the liner notes about "the bar seeming to be a lot higher" and "what could you write that Bobby would want to play" are interesting, because none of this comes through in the music. Quite the contrary. This disc has a very relaxed, almost mellow, vibe, even in the more energetic sections of music. I was hearing four old friends who know each other very well communicating and exploring the tunes with a very definite sense of enjoyment. You all really transcended the "newness" of Bobby to the music and to the band an presented the listener with a very solid set of songs.

I agree with Kevin that the bass does seem a bit far back in the mix on occasion but I'm still not sure if that is a problem with the recording or just Jim laying back a bit and not pushing himself to the forefront unnecessarily.

I was surprised to read that this disc was recorded in Maine in January...it definitely has more of a warm summer-feel to me.

All in all a very enjoyable disc. I'll be playing this over the holidays when our family is here staying with us. Thank you for sharing your music!

[Mark Kleinhaut]

Originally posted by John B
Mark -
your comments in the liner notes about "the bar seeming to be a lot higher" and "what could you write that Bobby would want to play" are interesting, because none of this comes through in the music. Quite the contrary. This disc has a very relaxed, almost mellow, vibe, even in the more energetic sections of music. I was hearing four old friends who know each other very well communicating and exploring the tunes with a very definite sense of enjoyment. You all really transcended the "newness" of Bobby to the music and to the band an presented the listener with a very solid set of songs.

Hi John, the bit about how I initially felt in writing this material relates to my feelings before I'd actually begun the work. I had just made the committment and wondered what I'd bitten off here. I didn't really know Bobby at all at this point- just a few emails and a couple of phone calls. But like many things, once you get going it gets easier. I tried in the liner notes to articulate that the path for this music became obvious to me once I focused on Bobby's unique voice and somthing I consider to be, for lack of better words, "musical optimism". That's our primary common ground, I feel, and everything fell into place from there. Playing with Bobby feels feels extremely natural, more like fast friends than old friends, but definitely someone who speaks the same language.

About the volume/sound of the bass. I'm not sure what to say about this except that it sounds well balanced and perfectly placed to me and everyone else involved with the project. Truth is, sometimes a mix just doesn't translate to every playback system. Some engineers work to make mixes work on the theoretical lowest common denominator sound system. Choices (compromises) are made to deal with this that detracts from how things sound on the best audiophile systems. I will admit that we mixed and mastered with high end playback systems in mind, though we tested the mixes in cars and boomboxes too. So, I don't know. I hope we made the right choices

[Chris D]

I find a lot of times that bass is overemphasized in mixes. I thought the sound on "Balance of Light" was nice and natural; it feels like a club date on my living room system (the one detailed in my review).

[Dick Trickle]

OK... after listening a half dozen times here are a few of my thoughts...

I like the overall ambience of the tunes and feel of the record. Mark... your playing is very nice indeed. I definately think that it's so clean and resolved in most cases that it brings to mind two pieces of imagery. Winter... and some T.S. Elliot poetry (lol). It's something I can spring on the uninitiated, no problem.

Here's the problem that I have with it on a whole. It's so damn close to what I really like to hear... there are parts of the melody of almost each track that wet my apetite, and then the lines take a little brighter and happier turn then I would really want to hear. Like in the opening track... if it were just a little darker (like when the melody does that little repeating rhumba bump, a slightly darker approach would be more fun for my ear)... I would be all over this.

I know I'm projecting my own tastes and choices, but as a listener and player, I have too or else I wouldn't have a pulse at the end of the day. So I have been trying to familiarize myself with this material and let it take me to where it's going... and it's definately not my timbre and sound I would choose... so in a way it's a real treat to excersise letting it into my ear, and trying to understand it.

I find Bobby Watson a little dry. (I know, deal with it MF'r, hahaha). Far be it for me to criticize him, but it is eerily fitting with the style of music. I think you made a good choice. All of these really open, and jump happy lines in the melodies kinda suit his mellow approach (something only few alto's can pull off, Bobby being one of them, mellow that is). I don't think this material would work too well with a fiery sounding horn, the balance of the group would have been thrown.

I think overall... this a pretty cerebral album toying with the whole concept of balance and does pretty well while doing so. I would like to hear the other work you end up doing and have done in the past... I gotta check out the album with the trumpeter. I would like to hear what the group sounded like with a different horn and see if the context is bent toward that sound merging as cohesive a concept as this album. I think a live approach might be a nice thing to consider as well in the future...

Good job Mr. Kleinhaut... I look forward to seeing you continue to put work out. This is not a disc I would drive around in my car blasting... but something to put on during dinner for sure.

Sorry I took so long to write something about it. But I wanted a little breathing room in between listenings so I could at least give it time to sit with me. I appreciate the sharing...

Keep on cooking,
Rex Trimm

[Lois Gilbert]

Can everyone please get your reviews in...we're past the deadline and we have another cd coming up

Best Lois

[Tanager]

First of all, deepest apologies to Lois and Mark for taking so long.

A Balance of Light. Mark Kleinhaut Trio, 2003, Invisible Music.

In his liner notes, Mark Kleinhaut writes of Bobby Watson's reaction to hearing how well Tiger Okoshi had integrated into the group on Mark's previous disk. No doubt Mark's next guest will have a similar reaction, for this group is wholly misnamed - a better name would be "The Mark Kleinhaut Quartet," so seamlessly does Watson's fluid alto mesh with this Maine-based trio.

Throughout this enjoyable set, each member of the group summons multiple colors from a large and varied palette. In the opener, the Latin-tinged "Ferdinand and Isabelle," Watson pulls an almost soprano-like tone from his horn, further enhancing the Caribbean feel. In "Field of Greens," a fun bluesy tune with a head that sounds like it came straight out of Monk, Watson summons shades of late-50s Cannonball Adderley for his solo. His unaccompanied intro to "Four Leaf Clover" is easily one of the highpoints of the album.

Mark Kleinhaut demonstrates a strong command of his instrument in terms of both composition and technique. Echoing and perhaps even surpassing Watson's versatility, Mark ranges from a spacious, fluid feel reminiscent of Abercrombie on "Long Look Back," to an earthy bluesy one on "Fields of Green," replete with bends and shimmering vibrato (it's always nice to hear a jazz guitarist who isn't afraid to put some muscle into a blues - so many use, in my opinion, much too light a touch and attack when playing the blues), to a slightly overdriven tone on "Start it Up", accompanied by a tinge of reverb, that recalls John Scofield, while his actual playing on the last tune is actually less rockish, more nimble and graceful - I was reminded of Pat Martino here. Mark is generally not an overly flashier player, usually emphasizing melodic development over gymnastics - an excellent example is his four chorus effort on "Four Lane Clover." But Kleinhaut's finest moment comes on the easygoing Django-esque swinger "South of Mason," in which he turns in 56 bars (assuming I counted correctly) of outstanding playing. He starts off slowly, letting the energy build during the relatively placid first ten bars, before unleashing a stream of runs and arpeggiated pyrotechnics, punctuated by trading fours with both Watson and drummer Les Harris, Jr.

As an accompanist, I liked Mark's playing, although I did find his backing of Watson overly busy in one or two spots - a brief section of "Long Look Back" found accompanist and soloist colliding to my ears, which was especially jarring given how well the group works together over most of the album. An example of the usually strong interaction is Watson's second solo on "Start it Up," in which he and Kleinhaut tumble over one another in a cascade of contrasting simultaneous trills - I was reminded of watching the tumbling courtship flight of hawks as the voices intersected, interwove, then separated again.

Kleinhaut and Watson are backed by the able rhythm section of Harris and bassist Jim Lyden. Harris is neither overly busy nor overly loud, providing just the right accents and rolls to propel the soloists. On "Ferdinand and Isabelle," both drummer and bassist generate a rolling, wavelike feel apropos to the sunny Latin setting. On "Long Look Back," it is really Lyden's almost lurching bass that really drives the tune, and on "Erikita," he contributes a lovely arco underpinning Both players also get ample solo space, and this is especially thankful in Lyden's case. While the sound is generally excellent on the CD, Lyden's bass is either undermiked or strangely mixed - in either case, it is often very difficult to hear outside of his solo passages. When he does get to step to the forefront, as in his solo intro to "Start it Up," he shows off a nice round tone with a solid punch. He's not a flashy player in the mold of LaFaro - he reminds me more of a Ron Carter, always in the right place and never getting in the way, a flavor you didn't realize you needed but without which the stew would be much blander. In "Four Lane Clover," the group demonstrates its unified command of dynamics in the closing climax, with no one voice overpowering the others.

As I've alluded to, the tunes themselves vary greatly. Tal Farlow would have felt himself right at home in "South of Mason," "Start it Up" is a fleet burner, and "Erikita" is a long, wistful tune with a relatively simple, open structure which provides ample space for Watson to stretch out on an extended solo. Mark Kleinhaut notes that his inspiration for many of the tunes came from time he spent at Cape Hatteras on North Carolina's Outer Banks, and although it might be the power of suggestion, the tunes nonetheless carry for me the flavor of wild, open, windswept spaces, in which one can turn one's back to civiliization and look out across the ocean. "Summers," the album's closer, makes me think of April on the OBX - one looks ahead to Memorial Day, knowing that soon the beaches and parking lots will be full of Summer visitors from the cities, the roar of the surf having to compete with the screams of swimmers and sunbathers. It starts off with a funky head that wouldn't sound out of place in a Weather Report set, but it then opens up into a long free middle section, one which at times threatens to coalesce into a groove, but it never does until the seven-minute mark, when the group returns to the original melody to close out the tune, much as Summer's dawning brings an end to the wild openness which characterizes the OBX the rest of the year.

[strich]

Ur, um ... what Chucky, Claude, Kevin, Chris D and Dick said.

First off, I'm overjoyed to find that this was recorded in Brunswick, home of my alma mater! It's a good thing that the studio didn't exist when I was in school, or else I would've been spending far too much time hanging around there, not studying (instead of hanging around in other places, not studying).

The first couple of times I listened to this record, I was working and the tunes (except for "Ferdinand") seemed to flow past me without sticking very hard in my head. Normally, that's a sign that I won't go back and listen very often. In this case, with the "review hammer" over my head, I listened through without distraction another 3-4 times and came away favorably impressed.

The Good:
1. The tunes all have strong melodies, not really eminently hummable ones, but ones that seem to make excellent platforms for Mark and Bobby's thematic-based improvisations.
2. The band is tight, negotiating the heads in unison with obvious ease.
3. Mark's intro to "Erikita", which foreshadows the melody nicely, and his paced, beautiful solo on the same tune.
3. My favorite tunes are "Ferdinand and Isabelle" (for the melody & Bobby's solo), "South of Mason" (for the intro trades between Mark & Bobby, Mark's solo & the bluesy melody), and "Erikita" (for Mark's intro, solo & obbligato work, the melody & Lyden's arco work), and "Summers" (for the melody, Harris' work & a bit of openness (is that free improv??)).

The Indifferent:
1. The tunes, except for "Start It Up", all seem to fall into a slow- or mid-tempo groove after the heads, and I would've preferred a bit more variety of tempo throughout.
2. I really enjoy Bobby Watson, but his work here exemplifies his recent tendency to remove the "rough edges" from his playing, e.g., as on "Quiet As It's Kept", which I did not like very much. I am a much bigger fan of his earlier work.
3. I tend to agree somewhat with Kevin about the bass solos -- but not that there are too many of 'em, just that they seem a bit overlong and generic. I admit that I'm not usually a fan of long bass solos unless they're overwhemingly singable (e.g., Palle Danielsson's solo on Jarrett's tune "Country".

Overall, a solid, mainstream date that I'm happy to have. I guess I'd probably give it *** on the Penguin Guide system.

[ormsbop]

I am quite happy to be one of the lucky ones to receive this CD. I read good things about Mark’s “A Balance of Light”in one of the jazz guitar newsgroups so this was already on my “to buy” list when I saw the deal in Jazz Corner. Freebie! Woohoo! And let me tell you, I was not disappointed after it arrived a few weeks ago.

In short, this is just an outstanding CD! All eight tunes on ABOL are Kleinhart’s and the diversity of the material reveals not only Mark’s range but also the depth of his writing skills as well. The fact that a player of Bobby Watson’s caliber was impressed enough to request the guitarist to write for him should tell you something about Kleinhart’s compositional talent. Just excellent and challenging tunes IMO.

But more than the composed and arranged material, it was the loose and spontaneous interactions between Watson and Kleinhart’s band that I found even more inspiring. it’s the quartet’s organic interaction that really makes this a great jazz disc. It’s one of those CDs that demands many repeated listens -you’ll always hear something you hadn’t heard before. At least this has been my experience in the dozen or so listens I’ve taken.

Bobby Watson sounds great. His playing is relatively cliche-free but definitely in the jazz tradition. Mark has mostly plays clean and straight but does tastefully utilize effects on some tunes. chorusing on "Long Look Back". Delay and slight distortion on "Start It UP".

The first track “Ferdinand and Isabelle” is a medium up-tempo latin tune with bright bouncy mambo rhythms. Mark’s tone and solo approach reminded me of Jim Hall. Nice work by drummer Les Harris Jr.

“Long Look Back” is an introspective ballad with a kind of ethereal quality. The floating melody over a straight eights. Really beautiful playing by Watson reminds me of Lovano most on this tune. Cool comping by Mark.

“Four Lane Clover” is a quirky piece that begins with Watson unaccompanied. Goes into a medium grove with a chord progression that kind reminds me of "Nica's Dream" for some reason.

“South of Mason” is swinging piece that sounds like it could have been written in 1958. Very familiar melody. Are you sure this wasn’t written in 1958?

“Field of Greens” Theolonius Monk meets Jim Hall.

“Start It Up” uptempo post-bop where Mark puts some “dirt” in his tone. And reveals some Scofield influence in his solo.

“Erikita” has Mark play real cool solo intro with artificial harmonics and kind of a counterpoint with himself. Goes into a slow Tango-like rhythm with bowed bass line.

“Summers” probably the quirkiest of all. A sunny Metheny-esque melody over shifting time signatures which suddenly drops without warning into a free form that slowly builds in intensity then goes back to the head.

Five stars out of five (on the ormsbop system)
*****

[Mike Schwartz]

Sorry about being late...
I may have listened to this recording as much as anyone.
I say this because Mark is going to be my final guest for 2003 as he visits the weekly radio/webcast a week from Sunday 12/28/03 at Noon Eastern/9AM Pacific KSJS, 90.5FM San Jose and www.ksjs.org

The one word that comes to me repeatedly is 'generousity'

The guys from Maine sure know how to make a guest feel welcome!
The CD certainly could be Bobby Watson w/the Mark Kleinhaut Trio he[Watson] is placed in such derservedly high esteem. That being said, Klenhaut and crew didn't just hang out and admire the cat, they made the most of the opportunity!

What we get here is one of the finest musicians of his time on alto blending with his new friends and bringing his excellence in ways we might expect and beyond; new group, new compositions and even an approach from Watson more melodic than we, certainly I was ready for and in the end revel at the results.

Track #3 [which I think should have been the opener, programming wise] a marvel of control and artistry delicately recorded with the sound of Bobby's fingerings and soft blowing magnifcent to take in.


Track #4 is another standout, as were many.
Kudo's to Mark on not only his insightful playing, both in lead roles and tastful colorings and support, but for the really nice job of writing. I'm reminded that this entire CD is full of original titles.

I didn't have a problem with the sound of the bass had been mentioned earlier.

My one knit_pick is programming, and reallly about 1 tune.

Ferdinand & Isabelle not the best choice [to my taste] as the opener.
It's the one selection on the CD that somehow doesn't seem to 'relate' to the others in mood and texture.
Had it been somewhere in the middle or towards the end, it would stand well seperately.As the opener it didn't lead me towards any of the other selections. Thus, when I play this CD, I start on track #2 or 3, or 4 when listening to it in it's entirety, and to my mind F&I blends somehow better with the rest.

We were onto this one a couple of weeks prior to this thread at KSJS, as we were already playing it. It's been a pleasure to get into it more extensively than I might have. Without the efforts of Lois here at JC and Mark and his wife at thier record label the pleasures of this CD would not have been the same. Thanks again!

[Bill Barton]

Postscript:

a.) The bass sounds fine to me.

b.) A Django connection definitely seems evident. Try listening to this CD back-to-back with the recent compilation Douce Ambiance...

c.) Thanks Lois and Mark! Lovely compositions, superior playing and real communication here.

[Mark Kleinhaut]

Thanks everyone for playing. It's been fun to read all this stuff. One quick question, though. What'd you think of the album cover and packaging generally? Nobody mentioned the cover art, so I'm wondering?

[chuckyd4]

Sorry Mark - with some of the awful graphics on certain unnamed modern jazz albums, I at least get into a habit of not bringing the cover into discussions of the music.

I definitely loved the painting, though - thought it complemented the music very nicely. Also, my brother (who likes jazz but isn't a fanatic) made a point of mentioning how much he liked this cover... I didn't ask him what he thought, it just struck him that nicely.


Bill, that's funny that you mention Douce Ambiance , as I had just written a review of that compilation the same work. That must be where I was hearing the similarities.

[Mark Kleinhaut]

Originally posted by chuckyd4
Bill, that's funny that you mention Douce Ambiance , as I had just written a review of that compilation the same work. That must be where I was hearing the similarities.

Strikes me funny too. I haven't heard Douce Ambiance. I rarely listen to Django or any of the legions of his followers. I own none of his sides.

Thanks for the feedback on the painting.

[chuckyd4]

I should clarify, I only heard the influence really in "Erikita" - mostly just in its textures, with the arco bass and everything. I definitely wouldn't say you really sound anything like Django on guitar.

[Dick Trickle]

Yeah the cover matches the concept and tittle in my opinion. It was on my mind... packaging rarely makes anything stand out to me, but it was nice.

[Mark Kleinhaut]

Originally posted by Dick Trickle
Yeah the cover matches the concept and tittle in my opinion. It was on my mind... packaging rarely makes anything stand out to me, but it was nice.

Hey Rex, I'm surprised to hear you say that since you work as a visual artist- glass blowing, (which I suppose is also a tactile art, but still more visual thing for most people (I'm one of those guys who's afraid to touch glass sculpture for fear I'll break it). Anyway, packaging is all part of the boogie inasmuch as most people will respond to the visual appeal of something.

I read an article recently that strongly suggested one of the more important factors of how well a CD will do with getting radio play is how attractive the cover art is. I didn't buy this at first, but his argument was that radio programmers and DJs are people too, and they,like most regular folks, are attracted to visually appealing packages.