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| Jan. 2020 - Frank Kohl, The Crossing ft: John Stowell, Steve LaSpina There's so much in life, and in this world, that makes us feel so many things so deeply, and that's where I want to be. That's why I play music. Jazz guitarist Frank Kohl's roots go back to the New York City metropolitan area, where, though not born into a musical family, he grew into one as the years went by. As an artist who always keeps a foot in the door of the past, Kohl understands the value of precedence. One need look only so far as the 1960s to identify the seeds of his craft, when the Beatles activated his interest in playing guitar. As training progressed, so did his musical tastes, giving way to Eric Clapton, Jimi Hendrix, and the blues. But it was his encounter with Wes Montgomery, particularly the landmark Verve sessions with organist Jimmy Smith, that set Kohl's sights on jazz. George Benson, Pat Martino, and Jim Hall cemented his commitment to the genre, as did his involvement in an award-winning high school jazz big band. It was around this time that he saw the Tony Williams Lifetime, with John McLaughlin and Larry Young. "My idea of what jazz was forever changed, " Kohl recalls. "I knew then that anything was possible in jazz." Kohl also frequented a club called Rapsins, known for its legendary jam sessions of such cutting-edge talents as guitarist Linc Chamberland, bassist Lyn Christie, and saxophonist Dave Liebman. Kohl would go on to become Chamberland's student, and before long was sharing stages with veterans of his cohort. Between 1972 and 1976, Kohl studied at the Berklee College of Music during a golden age of the school's matriculation, when John Scofield and Pat Metheny were still students. After graduating with honors, stepping out from under the wings of Gary Burton and Steve Swallow, Kohl built his professional résumé in and around the City—playing with Lyn Christie, among others—and was starting to write original music. Though indebted to the histories that moved him, Kohl was also intent on asserting his own voice. Hence, his first record, 1981's Reform, with famed bassist Michael Moore (of Bill Evans and Dave Brubeck fame). In 1983 Kohl moved to the San Francisco Bay Area and held an eight-year stint in vibraphonist Don McCaslin's band Warmth. Kohl then moved to Seattle, where he has since become a fixture of the local scene and can be seen headlining Tula's, The Triple Door, Egan's, and The Jazz Station with such talents as pianists Bill Anschell and John Hansen, bassists Jeff Johnson and Steve Luceno, drummers Matt Jorgenson and Greg Williamson, and guitarist John Stowell. Frank regularly returns to NYC, recording and performing at Mezzrow, Smalls, the Metropolitan Room, and BeanRunner Cafe, and working with, among others, pianist (and brother) Tom Kohl, bassists Steve Roane and Steve LaSpina, and drummer Jon Doty. Kohl earned praised from Cadence Magazine, All About Jazz, and guitarist Mike Stern for his second album, Coast to Coast, in 2008, prompting Travis Rogers Jr. of JazzTimes to proclaim, "He is set to be well recognized for his splendid composition and artistry. His talent and craftsmanship make him imminently worthy of notoriety. His focus on the music instead of the musician makes him a cherished artist." And in 2013 he recorded his third CD, Invisible Man, for which he recruited the talents of bassist Steve LaSpina. Following a successful appearance at Seattle's Earshot Jazz Festival Kohl's fourth album, Rising Tide, was met with critical praise. Jazz journalist Raul da Gama ruminated, "each piece is deeply studied and exquisitely performed." With the release of The Crossing, Kohl once again proves he is a master at harmonic and melodic conceptions and his originals compliment the rich history of the jazz idiom. Seattle based guitarist Frank Kohl continues to put forth a discography that is worthy of distinction. His nimble buoyancy and focused notes ring with a luminescence and mastery. His latest offering The Crossing continues the contemplative beauty he is known for, with flashes of voices from the past. On this outing Kohl is joined by guitarist John Stowell, who himself enjoys a lauded career with credits that include recording and or performing with Milt Jackson, Lionel Hampton, Art Farmer, Conte Condoli, Herb Ellis, Bill Watrous, Mundell Lowe, George Cables, Billy Higgins, Billy Hart, Richie Cole, Paul Horn, Tom Harrrell, Don Thompson, Dave Liebman. Lending his venerable talents to the proceedings, bassist Steve LaSpina has enjoyed a vigorous career playing with Mel Lewis's orchestra (1978–82), Stan Getz (1986-87), Jim Hall (from 1988), Andy LaVerne (from 1989), and Benny Carter (latter half of the 1990s). The Crossing is Kohl's fifth album as a leader and with each release Kohl's breadth of expression increases with an equal balance of original material and well-chosen standards. The title track is a Kohl original, a swing that features a two feel for the head with each guitarist taking on their role, one highlighting the melody, while the other accompanies with lush chords, each displaying masterful technique. LaSpina has an innate ability to conjure impeccable intonation adding to the warmth and tonality of the tune. A Jobim tune, "O Grande Amour" is given a playful relaxed bossa nova feel. The intimate recording process of the trio lends to the percussive nuances of each string players technique. Stowell colorizes with a nylon string guitar that adds a sonority to his solo that is filled with warmth and clarity. LaSpina is equally poised in his execution with a bowed solo. Kohl's solo is replete with an intelligent execution of improvisational ideas that pin to a spontaneous enlightenment of presence. An Allie Wrubel classic "The Masquerade is Over" was first debuted January 20, 1939 by Larry Clinton and His Orchestra. The tune is given a solidly swinging treatment. The two guitarists highlight an interactive duet of melodicism and harmonic cleverness. While "The Goodbye, " another Kohl original is an exquisite ballad that showcases the introspective craftsmanship of Kohl's emotive pen. "Yesterdays, " a Jerome Kern tune is a 1933 song about nostalgia, Kohl approaches the tune in a elementally virtuosic approach, with flawlessly arpeggiated lines that stir with a brilliance of tonality and purity of execution. "Middle of Nowhere, " another Kohl original highlights a straight eight feel by LaSpina who is keenly attuned to the joyful superlative nature of the melody. A key highlight on this tune is the two guitarist and how they interact, their innate ability to complement each other with tasteful fills that propel each other with fulsome rhythms is a cornerstone to this tune. Kohl's originals are filled with vivid ideas and composed with a nod towards the pride and esteem of the guitar tradition. His original "Sojourn" is transformative in its swing feel. His diaphanous touch on guitar is only elevated by the extension of his impeccable ensemble. Together the trio enthuses on "New Moon, " with rhythmic incisiveness that elicits a radiant beauty in a straight eight feel. Once again, the trio expertly phrases each poignancy of the melody. On "Brigas Nunca Mais, " another Jobim jewel, the two guitarists display a rapport that is as vivid as it is eloquent. Their delicacy and passion on this well-crafted bossa are only highlighted by their innate fingerwork and the seemingly weightlessness of LaSpina's embellishments. The Crossing certainly cements Frank Kohl as a guitar figure of considerable talent and a composer of note. His originals are expertly balanced with well-chosen Latin and standard song choices that elevate The Crossing to a solidus virtuosity. TRACKS AND TIMES: 1. The Crossing 6:14 2. O Grande Amour 6:45 3. The Masquerade Is Over 7:20 4. The Goodbye 5:02 5. Yesterdays 6:37 6. Middle of Nowhere 9:13 7. Sojourn 6:07 8. New Moon 5:25 9. Brigas Nunca Mais 5:17 PLAYERS & INSTRUMENTS: Frank Kohl: guitar John Stowell: guitar, nylon string guitar Steve LaSpina: acoustic bass write your comments about the article :: © 2019 Jazz News :: home page |