https://youtu.be/attr99Z6udo

Editor's info:
My favorite albums have always been the ones that take the listener on a journey. I aim to do that, to create worlds with my albums - universes. I wanted The Other Side of Time to unfold like a story and I've continued that process with The Shadows and The Light. I'm influenced by so many different styles of creative music and I like to try and bring all those influences into harmony on these records. There is long-form and short-form composition. You have groove and you have free improvisation, sometimes at the same time. I chose to honor some of the greats - Elvin Jones with Frank Foster, Phil Cohran, Carla Bley & Sun Ra - by covering their material, while my original compositions pay homage to the influences of Charles Mingus (Lucid Dream) and Mr. Blount (Jupiter Moon). I also make room for sound explorations (Shadow Intro & Ecliptics). The title cut is an epic journey all on it's own and a composition I've been working and reworking for many years. I'm happy to have finally brought it to life in it's truest form.
by Quin Kirchner

DownBeat * * * *
Quin Kirchner, a ubiquitous presence in Chicago’s jazz and improvised music community during the past 15 years, reinforces his abilities as an assimilator and bandleader on his second album, deftly enfolding local traditions with contemporary practices. He leads an excellent pool of players, all of whom he’s worked with in other contexts, crafting crackling intimacy here and boisterous soul there.

Sun Ra’s shadow is manifest, whether it’s in the way Rob Clearfield’s pointillistic Wurlitzer complements the leader’s percolating conga rhythms on the tightly coiled “Batá Chop” or Kirchner’s own “Jupiter Moon,” which sounds like a late-’50s Herman Blount vehicle. Ultimately, though, he casts a wider net, making space for a sizzling interpretation of Frank Foster’s “At This Poin.......
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noweidzieodmorza.com
The Shadows and The Light przypomina trochę In the Moment Makaya McCraven – Quin Kirchner to kolejny perkusista ze zmysłem do klejenia muzycznych mozaik, bazujących na zmiennej sekcji rytmicznej. Tu czuję jednak większą spontaniczność, pomysłów uwidocznionych przez udział kolejnych muzyków, którzy poszerzają jego paletę barw. Od fascynacji Mingusem, Cohranem i Sun Ra wiodą przez zwięzłe improwizacje po skupienie i eksplorację pomysłów. „Pathways” ze świetną grą na kontrabasie Matta Ulery’ego i fletowymi zawijasami Nate Lepine jest minimalistycznym momentem wyciszenia, które przechodzi w orkiestralnie brzmiącą „Saharę”. Ta medytacja i trans świetnie kontrastują z rozdygotanym „Batá Chop” o karaibskim posmaku albo orkiestralnym „Planet Earth”. Same perkusjonalia kreślą obraz od solidnego bebopowego grania aż po frywolne solówki – czasem łopotanie na bębnach przechodzi w delikatną grę na kalimbie. 1,5 godziny nie nuży ani przez chwilę.
by Jakub Knera

muzycy:

Shadow Intro (Quin Kirchner)
Quin Kirchner: Drum Set, Congas, Percussion, Roland SH-2000, Korg Monotron

Batá Chop (Quin Kirchner)
Quin Kirchner - Drum Set, Boss SP-303
Rob Clearfield - Wurlitzer
Matt Ulery - Acoustic Bass
Greg Ward - Alto Saxophone

At This Point In Time (Frank Foster)
Quin Kirchner - Drum Set, Congas, Percussion
Nick Broste - Trombone
Rob Clearfield - Wurlitzer
Nate Lepine - Tenor Saxophone
Nick Mazzarella - Soprano Saxophone
Jason Stein - Bass Clarinet
Matt Ulery - Electric Bass

Rift (Quin Kirchner)
Quin Kirchner - Drum Set
Nate Lepine - Tenor Saxophone
Matt Ulery - Acoustic Bass

Pathways (Quin Kirchner)
Quin Kirchner - Kalimba
Nate Lepine - Flute
Matt Ulery - Acoustic Bass

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