The last number pitched Guy and Kimura once more into close-knit choreography; impressionistic minimalism soon erupted into jagged dissonance, the two musicians locking in and out of tight unison lines and trading back and forth like sparring heavyweights, Kimura pounding the keys with a vengeance and Guy's bow sawing at the strings mercilessly. The piece climaxed with a spirited joint flurry, signalling an eruption of sustained applause from the appreciative audience.
For several minutes after the performance had ended audience members engaged in lively conversationa very spontaneous response to the energy and emotional impact of the music. It was a release that spoke volumes of the power of music to provoke, stimulate and animate. It will be fascinating to see if Guy and Kimura develop their musical relationship. On the basis of this stirring performance at the Hugh Lane Gallery these two kindred spirits might have a lot more exceptional things to say together.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.