snobb Kirk Knuffke, a cornetist based in New York since 2005, is one of this generation's leading artists on his instrument. He's played with William Parker, Roswell Rudd, John Zorn, Dave Douglas, Myra Melford and Jon Irabagon among many others, and has built a strong reputation as an inventive and skilled side-artist.

He started recording as a leader in 2008, he moved from freer avant-garde jazz to various forms of free-bop, finding there his own easily recognizable sound. It came almost as a surprise to realize that after twelve years and a series of his own albums, "Brightness.." is Knuffke's first ever released live album (European "Chew Your Food" live album from 2010 is more a collective Knuffke-Ellis-Wollesen trio work).

Following Knuffke music for some years, it always attracted me for being unpredictable. Having his own signature sound, Knuffke never plays the same things twice. All of his albums are recorded with different line-ups and/or different, sometimes quite unorthodox, concepts (a great example is his "Witness" from 2018 - cornet/clarinet/piano trio in support of operatic baritone Steven Herring singing standards, some arias and a few Knuffke originals).

For those new to Knuffke's music, the best parallel is Eric Dolphy's transitional period works, except Dolphy did a great step from bop to free, Knuffke five decades after moves in the opposite direction.

On "Brightness", bare-naked cornet-bass-drums trio plays in soft and warm atmosphere of Amsterdam's most legendary jazz club - Bimhuis. In fact, current Knuffke's trio with drummer Bill Goodwin and bassist Mark Helias is half of 2015's Knuffke sextet, responsible for the release of the notable "Arms And Hands" album.

Seven compositions, all tuneful (similar to a modern standards of sort) are played with a lot of inspiration and grace, still with a strong feel for early bop. Vibrato-less clear sound of cornet draws moody melodies with relaxed beauty, adding freer solos here and there and leaving enough space for deep physical bass soloing and swinging drums, and - probably for the first time ever - Kirk sings on "The Mob, The Crown, The Mass".

Returning back to the parallels with Dolphy's music, Knuffke in fact plays same free-bop as Dolphy did. Just if Dolphy started on ground moving to faster, freer more chaotic sound, Knuffke returns back bop-rooted avant-garde jazz back to its roots.

Simply and great - just can't stop listening to it again and again.

It's interesting, that just a few days ago Knuffke released his second album this same year, this time on the European SteepleChase label and in accordance with the label's reputation - a bit more conservative. Still, he again chooses a trio format - not really a traditional one, with Kenny Wollesen on drums and Bob Stewart on tuba. Kirk can't stop surprising his fans again.

snobb Originally from Colorado, but Brooklyn-based for last decade,cornetist Kirk Knuffke is a musician who belongs to leading representatives of younger New York jazz scene of today."Garden Of Gifts" is his second album, released six years ago - being still relatively unknown newcomer.

Recorded in another trio's member,Italian improvisational drummer Federico Ughi Brooklyn house (and with Federico's made photo used as cover art), this album is already very much Knuffke work. Judging by the cover this album can contain whatever you want - from esoteric electronics noodling to free-form lo-fi nature-friendly sound salad to soundtrack to National Geographic themes. Fortunately, it doesn't.

It's a Knuffke lively colorful trumpet what brings sense and beauty in the trio's music. Still very slow, atmospheric, even sad in moments,this music surprisingly avoids being bulky,repetitive or monotonous. There are no regular structure, rhythm frame or obvious direction here, but all compositions are no way static, there is permanent flow and ever-changing actions. Knuffke's trumpet sounds in best Bill Dixon tradition filling quite liquid space with bits and snippets of tunes.

Third trio member Chris Welcome's guitar produces some abstract sounds here and there,adding more surrealistic colors to drummer's build dense basis. In all this album is surprisingly accessible for free-form musical recording and avoids loud and dissonant sounds,making it attractive for wider circle of listeners. Not properly noticed and evaluated at the time of release, "Garden Of Gifts" requires a second chance and I expect it can be really positively accepted by many fans of more current and much better known Kirk Knuffke music.

snobb New York-based cornet player Kirk Knuffke is one among most interesting new generation reeds player both sides of Atlantic. Recording regularly on Danish SteepleChase label with many leading mainstream and adventurous jazz musicians he is known as the artist, easily combining tradition and advanced techniques.

On his "Arms And Hands"(one of three albums Knuffke as leader released in 2015)he leads a bit unusual trio with former Anthony Braxton/Cecil Taylor bassist Mark Helias and mainstream veteran drummer Bill Goodwin(who worked with Phil Woods, Art Pepper and Charles Lloyd among others).The album contains fifteen short songs (all but one are Knuffke originals), on half of them trio of guests (Daniel Carter on alto,Brian Drye on trombone and Jeff Lederer on soprano and tenor)are presented as well.

Quite differently from many other Knuffke works "Arms And Hands" is quite easy accessible album,full of fun. It opens with New Orlean style sounding "Safety Shoes" and that atmosphere of Art Ensemble of Chicago's kind of jazz circus doesn't disappear all album long. There are some funky tunes and soul jazz songs, some freer improvs are combined with very boppish pieces, and in all whole album builds very lively and even festive atmosphere.

The only problem here is as a collection of many short compositions the album from some point starts sounding a bit monotonous. Tunes' bits are partially missing in quite eclectic musical entirety and absence of catchy points causes "sameness" feel. Still very bright and playful release not overloaded with pseudo-serious formalism.