Steve Wyzard NOT FOR MASSAGE THERAPY

For those of you who weren't there, the late 1980s were a very unique time in the history of jazz. Suddenly the music was acceptably hip, and was seen and heard everywhere, all with the media's full support and approval. It was what some have called the "Armani Suits/Skinny Ties" era of jazz, and many peripheral figures briefly found themselves in the spotlight for 15 minutes of fame. Such was the case for Joachim Kuhn when he released this album in early 1988.

Kuhn, best known in Europe, had been recording since the mid-1960s and was even a semi-prominent figure in the mid-1970s fusion scene. By the time Situations was released, he had already recorded a number of solo piano and piano trio albums, most of which had hideous cover art and were only sporadically available to his small-but-devoted following. When George Winston albums started going multi-platinum, Atlantic Records gave this album a major push before (naturally) dropping and forgetting all about him after the moment had passed.

So why are we discussing Situations today? Because it's a masterful solo piano album that truly transcends its release date. Don't for a moment think this is background music for candlelit dinners. The virtuosic "Delicate Pain" begins with startling vigor and passes through many tempo changes before returning to the original passionate fire it opened with. The impressionistic "Lunch in the Rain" betrays Kuhn's classical background, moving from a stately opening, through reflective moods, before reaching a crystalline peak. The best known song on this album, "Hauswomen Song" originally appeared on a compilation entitled Piano One, released on the Private Music label in late 1985. This longer version is one of Kuhn's most memorable compositions ever, brimful of hummable melodies. "Sensitive Detail" is a leisurely intermezzo before an indefinite conclusion, and the album closes with the dark-yet-warm beauty of "Refuge". Yet it's the first track, the exploratory "Situation", that most effectively captures the contemplative mood of its time.

The uncreditted package design (and the late 1980s zeitgeist) probably led many people to unfairly file this album under the dreaded moniker of "New Age". Situations far surpasses the music usually associated with that unfortunate label, and should interest far more than just Joachim Kuhn listeners. For jazz solo piano fans, this one is truly worth any efforts expended toward tracking it down. While so many contemporaries were going electric or exploring "World Music", Situations should be remembered as one of the defining statements of its era.