Kim Bock Quartet
The Kim Bock Quartet brings four talented and highly experienced New York-based jazz musicians together since 2005 - Kim Bock (sax), Peter Retzlaff (drums), Adam Armstrong (bass) and David Smith (trumpet). All the music is written by Kim Bock specifically for this group. It draws on a multitude of influences from artists dating back to the 60's like Miles Davis and Ornette Coleman to contemporary musicians like Joe Lovano and David Douglas. The music stretches from modal section to complex chord progressions, including odd meter rhythms.
The choice to form a chord-less quartet, leads to an open and expansive sound, where the individual instruments interplay and interact to a higher degree than in a regular jazz group. For instance, the bass plays a very active role in outlining harmonies, and the sax and trumpet play both composed and on-the-spot improvised counterlines.
New York based organ trio FLOW was formed in 2006 and is a collaboration between saxophonist Kim Bock (SteepleChase), organ player Soren Moller (Jazzheads Records) and drummer Peter Retzlaff (Universal Records).
Over the years these three musicians have performed and recorded with artists such as Kenny Werner, Greg Osby, Maynard Ferguson, Dick Oatts, Antonio Sanchez and Jason Marsalis.
FLOW brings together three distinct musical personalities in a soundscape that throws an innovative light on the modern organ trio.
Straight grooves, lyrical modernism, free explorations and hard core swing are all components of the FLOW experience.
by Ken Dryden
Barnes & Noble
While many of the artists featured as leaders on Steeplechase are up-and-coming American instrumentalists deserving of wider attention, tenor saxophonist Kim Bock is a veteran home-grown Danish musician, though like his labelmates he merits greater world-wide exposure, too. With an international group including Canadian trumpeter David Smith, Australian bassist Adam Armstrong, and American drummer Peter Retzlaff, Bock delivers the goods in this live set, with five potent originals that allow plenty of room for stretching out without losing focus. The extended opener, "The Plus Side," features powerful solos by Bock and Smith with the rhythm section taking it out in an understated manner. The brooding "Pink" is a haunting ballad, while "Secrets," a piece previously recorded by the saxophonist, becomes more abstract compared to its studio version. The conclusion is "Tumble," in which Smith echoes Bock's lines just a few bars behind him. Recommended.
by Steven Futterman
Barnes & Noble
The influx of excellent European jazz musicians continues. Tenor saxophonist Kim Bock hails from, but both his horn and his terse, compelling compositions speak with a distinctive American accent. Working with a quartet that relies on a bare-bones bass-and-drums foundation, Bock beautifully sets off both his commanding saxophone work and the impressive playing of trumpeter David Smith in an ensemble environment that, while reminiscent of the classic Ornette Coleman bands of the early '60s, carves out its own musical identity. Interaction is the name of the game; in their most evocative performances, Bock and Smith interweave their strongly melodic lines, while the stealthy support of the virtuosic bassist Adam Armstrong and drummer Peter Retzlaff offers both cohesion and a secondary level of interest. Bock and his band, a force to be reckoned with already, will no doubt evolve -- keep close tabs on them.
by Kelvin L. Williams
Time Out New York
The rapport between Danish saxist Kim Bock and trumpeter David Smith is nothing short of amazing on Secrets (SteepleChase), Bock's smashing new disc. All of the originals bespeak the kind of snap and ingenuity that can make weighty music surprisingly accessible and charming; the lead horns shadow each other like a new-school Dewey Redman and Don Cherry.
No. 1 on US Jazz radio - Jazz with Bob Parlocha
by Ken Dryden
Kim Bock formed a tenor/organ/drums trio a couple of years prior to this 2010 record date with Soren Moller and Peter Retzlaff, though this is hardly a typical soul-oriented jazz session like many such trios. Instead, Bock and Moller contributed original compositions that fall more into post-bop and modal jazz. Moller's "To Part" proves to be an infestious opener, with Bock's hard-edges tenor and the organist's soft mambo bassline. The organist's engaging "Ellis Island" has a Latin flavor and an air of celebration. Bock's lush ballad "Graceful Motions" is a richly textured word, with Retzlaff's soft brushwork and Moller's understated solo. The saxophonist's turbulent "Different Bags of Tricks" is modal jazz as its best, with several surprising twists on the journey, while his "Yin Yang" is an upbeat cooker that seems to glide along in a carefree manner. Throughout the date the musicians seem very much of one mind as they explore each number, making it sound effortless in the process.