{"id":8242,"date":"2017-03-06T20:09:17","date_gmt":"2017-03-07T04:09:17","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8242"},"modified":"2017-03-06T20:30:51","modified_gmt":"2017-03-07T04:30:51","slug":"monday-recommendation-joachim-kuhn-trio","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/03\/monday-recommendation-joachim-kuhn-trio\/","title":{"rendered":"Monday Recommendation: Joachim K\u00c3\u00bchn Trio"},"content":{"rendered":"<p><strong>Joachim K\u00c3\u00bchn<\/strong> New Trio, <em><a href=\"http:\/\/amzn.to\/2mfPlU9\">Beauty &amp; Truth<\/a><\/em>, ACT<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8244\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Kuhn-Trio-Cover.jpg\" alt=\"\" width=\"200\" height=\"180\" \/>For more than half a century the German piano virtuoso Joachim K\u00c3\u00bchn has made it all but impossible to categorize his music. He, bassist Chris Jennings and drummer Eric Schaefer begin his eclectic new album with Ornette Coleman&#8217;s title composition&#8221;\u00a0and end with Gil Evans\u00e2\u20ac\u2122 1957 masterpiece &#8220;Blues For Pablo.&#8221; In the course of the program K\u00c3\u00bchn plays The Doors&#8217; &#8220;Riders On The Storm&#8221; and \u00e2\u20ac\u0153The End,\u00e2\u20ac\u009d Gershwin&#8217;s &#8220;Summertime,&#8221; Kryzyszstof Komeda\u00e2\u20ac\u2122s brooding<img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-8245\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Joachim-Kuhn.jpg\" alt=\"\" width=\"180\" height=\"180\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Joachim-Kuhn.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Joachim-Kuhn-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Joachim-Kuhn-100x100.jpg 100w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\" \/> \u00e2\u20ac\u0153Sleep Safe And Warm\u00e2\u20ac\u009d from the score of <em>Rosemary\u00e2\u20ac\u2122s Baby<\/em> and \u00e2\u20ac\u0153Sleep On It\u00e2\u20ac\u009d by the techno-digital-reggae-new-wave band Stand High Patrol. K\u00c3\u00bchn the composer contributes three pieces, including \u00e2\u20ac\u0153Machineria,\u00e2\u20ac\u009d which is not as mechanical as its title suggests. Indeed, his keyboard touch and interaction with Jennings and Schaefer give it the warmth of a slow boil. For a review of this trio in live performance, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2016\/08\/ystad-joe-lovano-the-bohuslan-big-band-others.html\">go here<\/a>&#8221;\u00a0and scroll down.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Joachim K\u00c3\u00bchn New Trio, Beauty &amp; Truth, ACT For more than half a century the German piano virtuoso Joachim K\u00c3\u00bchn has made it all but impossible to categorize his music. He, bassist Chris Jennings and drummer Eric Schaefer begin his eclectic new album with Ornette Coleman&#8217;s title composition&#8221;\u00a0and end with Gil Evans\u00e2\u20ac\u2122 1957 masterpiece &#8220;Blues [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8244,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-8242","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8242","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8242"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8242\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8244"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}