Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

Kenny Werner: The Space (Pirouet)

Review of solo album by the pianist

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Cover of Kenny Werner album The Space
Cover of Kenny Werner album The Space

Pianist Kenny Werner named The Space—a solo piano recording—after a concept in his celebrated musical-psychospiritual book Effortless Mastery. A few seconds of its opening 16-minute title track make clear that he also uses the term in a practical sense. The piece uses so much internal space that it often reads as a study in tone decay. Rhythmic momentum takes about five minutes to build, and those five minutes are a tough listen.

From there, however, The Space seems to change the subject entirely. Amorphous abstraction gives way to a deliriously sprightly take on Keith Jarrett’s “Encore from Tokyo” that sounds more like Bud Powell’s “Parisian Thoroughfare” in terms of both gait (particularly odd, since Jarrett played the song nearly as ethereally as Werner plays “The Space”) and richness of ideas. The album never quite replicates that rhythmic zing. Still, “If I Should Lose You” comes close; Werner’s “Fifth Movement” is a quirky gavotte but a gavotte nonetheless; and saxophonist (and Pirouet Records artistic director) Jason Seizer’s “Taro” is a little vague harmonically, but its swing is firm. (Another Seizer composition, “Kiyoko,” is an exquisite ballad, but also has a rhythmic constant.)

Thus “The Space” seems on first listen to be a digression, which is a shambolic way to open an album. Further examinations, however, reveal that it really does set a tone. The Space takes great care with touch and timbre, as much on the maddest scurries of “Encore from Tokyo” as on the tender, funereal chord voicings of “Fall from Grace” or the title track’s aural diffusion. Werner’s abstract notion of “the space” is “the place where every note I play is the most beautiful sound I’ve ever heard”; what he’s onto may not be entirely user-friendly, but he is onto something.

Preview, buy or download The Space on Amazon!

Originally Published