 | | Track list | | Track | Title | | | | | 1 | Crystalline Blue | | | 2 | Song for Mia (Just Begun) | | | 3 | Blue School | | | 4 | First Flight Of The Bluejay | | | 5 | Die Zeit Der Kirschen (Fuer Eva) | | | 6 | Trilogy in Blue, Part I: the Drums | | | 7 | Trilogy in Blue, Part II: the Bass | | | 8 | Trilogy in Blue, Part III: the Gospel | | | 9 | The New Jig | | | 10 | A Few Good Things | | | 11 | A Fuller Truth | |
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| | STEVE KLINK | Trilogy In Blue | | | There is a musical world that finds its source in the most unlikely of places: America’s Midwest, where the roots of American music combine in unexpected ways — folk ballads, soulful blues, crunchy swing and gospel shouts. With his homed songwriting sensibility Steve Klink combines these musical sources to create magical melodies, then arranges them in the vocabulary of hardbop and the respective trios of that era: Ahmad Jamal, Gene Harris and Les McCann. The results are hundreds of finely crafted recordings he has written, each beautiful in its own right. But taken together, the body of work Steve Klink has written, recorded and performed over the years forms a wide-ranging pastiche, a panorama of song stories about life, love and longing.
There are many ways to listen to the music of Steve Klink.
On the surface it is possible to describe his music as meditative, bluesy, folky, jazzy, soulful. And for many fans this is enough, this visceral connection with Steve’s gift of melodic composition, his signature piano playing style and the unbelievable connection and interaction between the members of his trio: Volker Heinze and Marcus Rieck. But dig deeper and you find different levels of compositional intent and meaning, as well as a desire to deal with some of jazz’s most perplexing and profound mysteries. For example, what would have happened if the hardbop era had continued and not been cut short by the coming commercial wave of fusion in 1970s America? | |
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