Los Angeles, CA based jazz guitarist Kim Reith uses a hollow-body electric for a set consisting of her original works and Thelonius Monk’s “Epistrophy.” She adheres to the classic, jazz guitar trio format, featuring a sympathetic rhythm section sans any notions of flash and dazzle. Reith’s strengths reside within her Monk-like sense of rhythm, brimming with staggered flows, acute use of space, and an animated mode of execution. She provides the technical details on a per track basis, as she employs George Russell’s “Lydian Chromatic Concepts,” to complement her deliberate manner of stating a theme. There’s an intertwining quality to this outing, especially when viewed upon as an entity. Reith’s compositional structures unfold amid slight variations. She casts a cerebral or somewhat studious demeanor, although a few more dynamics might have elevated the excitement factor a bit. Nonetheless, her warm-toned lines and inventive phraseology should win the hearts of more than just a few jazz aficionados.
I grew up listening to my father's jazz records and listening to the radio. My dad was a musician for many years as a vocalist, bassist and drummer. His two uncles played in the Symphony of Reggio Calabria back in Italy
I grew up listening to my father's jazz records and listening to the radio. My dad was a musician for many years as a vocalist, bassist and drummer. His two uncles played in the Symphony of Reggio Calabria back in Italy. So music and jazz specifically have been a part of me since I was born. I love and perform in all styles of music from around the world. Improvisation in jazz is what drew me in, and still does as well as other genres that feature improvisation. A group of great musicians expressing themselves as one is the hallmark of great jazz and in fact all great music.