Steve Kuhn - Oceans in the Sky (Owl, 1990)

This post is by Scott and Dan

Steve Kuhn (p); Miroslav Vitous (b); Aldo Romano (d) 

Recorded on September 20 - 21, 1989

Steve Kuhn has had one of the longest careers in jazz history. Between 1960 and his recent retirement from touring in 2022, he performed and recorded with a countless number of jazz luminaries. He is, of course, a luminary himself with hundreds of recording credits, often as a leader.

Oceans in the Sky finds Kuhn in a trio format with bassist Miroslav Vitous and drummer Aldo Romano. Kuhn was active in both the U.S. and Europe throughout his career, and recording in Paris on a French label with a Czech and an Italian was by this time perfectly normal in jazz.

It would be easy to overlook this album as just another fine trio date with excellent musicians. It's a tasteful performance by all participants and does not flaunt its virtues. But careful listening reveals an uncommonly strong date replete with small gems and palpable chemistry among the three players.

Following a lovely rendition of Ivan Lins' classic "The Island," Kuhn takes "Lotus Blossom" at a blistering pace, which would have probably pleased composer Kenny Dorham (who was also one of Kuhn's earliest employers back in 1960). Next comes an unusual medley pairing Debussy's "La Plus Que Lente" with Ellington's "Passion Flower." (This is not the first adaptation of Debussy's composition to jazz; both Gerry Mulligan and Mike Mainieri have also recorded it). For the rest of the album, the trio engage in brilliant three-way communication, approaching each piece with fresh arrangements and an abundance of acute detail. There is not a dull moment, even on the most familiar material. 

The original compositions by members of the trio stand out. Romano's "Dò," which means "give" in Italian, is a lovely ballad that prompt's one of Kuhn's most expressive solos. Kuhn's

two compositions include the title piece, which builds dramatically around a marvelous progression of chords. His "Ulla" is a somewhat darker ballad with a mysterious introduction by Romano. Kuhn explores the piano's highest register as he extends the song to its conclusion. 

Vitous deserves special mention for his conventional approach on this album, which contrasts with his own more adventurous albums and his work with Weather Report. It would be interesting to play tracks from Oceans in the Sky in a blindfold test to see if he would be recognized.