This week, we look at the newest release from Cornell Kinderknecht,
, on the
Little Greyhound Music label.
Review excerpt by:
New Age Reporter,
March 8, 2009
See the full review
Cornell Kinderknecht's CD, Nightfall, is a tour
through the magical musical world of flutes: Native American, Bansuri,
Anasazi, bamboo, ocarina, and Irish whistle. Kinderknecht handles each
of these with confident artistry, weaving a variety of both soothing
low-key melodies and a few slightly uptempo tunes, accompanied by an
assortment of keyboards… While the Native American flute
dominates the affair… I wouldn't go so far as to label
Nightfall a Native fusion release. It's much closer to classic new age
music (one track brings to mind the Micahel Hoppe/Tim Wheater
collaboration, The Yearning), at least to my ears. Part of this
impression is influenced by how Kinderknecht incorporates his piano
and arsenal of electronic keyboards. However, since the Native flute
has such a distinctive sound, if Native fusion happens to be a
subgenre you enjoy, you'll almost certainly like this album…
See the full review
Cornell's newest release brings you a synergistic work, in the new age
style, that takes elements of sound from Western, Asian, and Native
music, and interweaves them into a unique work, that has wonderful
continuity, in terms of the title theme, bringing you a meditative,
relaxing, chill out, magical trip, through that time between the
shadows of twilight and dawn, when all things are possible.
Utilizing a mix of flutes, with keyboards / synth, piano, and
percussion, at times blending 2 flutes into the mix, with effects of
guitar, harp, crystals, bells, and more, Cornell adds the subtle
touches of accompaniment that complement his compositions, but never
taking away from, the beauty of his flutes.
Just when you think you feel the direction of a piece, it will take a
turn, and lead you onto a new path, skillfully blending elements that
leave you searching for description, as your senses find new
discoveries within the pieces.
Perhaps more complex, and yet deceptively so, than his first release,
these new songs are a little like fine wine, with subtle aromas and
flavors, and surprises in the finish.
Review excerpt by:
New Age Reporter,
February 6, 2009
See the full review
Music That Goes Lightly at Dark
I have never heard a Native American flute played as if it had
classical and modern music wings before, but Cornell Kinderknect's new
album, Nightfall, has
just that feel. It is not so much formal sounding as it is
Nightfall is a time of discovery for the creative mind. Poets, artists
and writers seem to sense when the sun goes down and their creative
juices begin flow like welcome April rain. For many it is also a time
of peace. They take refuge in the night like crickets who sing louder
when the stars, blazing like crystal diamonds, fill the darkness with
their special magic. Cornell Kinderknecht's flute makes the night that
much more secure, soothing and above all, satisfying. I enjoyed every
See the full review
Emotions flow freely, and run from quiet peacefulness, to love,
discovery, mysticism, and romance.
This is a wonderful work, that is a genuinely pleasing listening
experience, yet, it can be allowed to flow in the background, without
any conscious effort to listen, and its pleasing melodies still bring
you comfort and tranquility, whether reading a book, sharing special
moments of romance, or in meditative contemplation.
There are 13 tracks, of mostly medium to longer pieces, played in a
mix of Native American flute, Bansuri (East Indian) flute, transverse
bamboo flute, double wooden ocarina, low Irish whistle, and Anasazi
In this work, Cornell plays his flutes in a distinctive, unexpected
way, as the bansuris sound more like alto bamboo flutes, the Irish
whistle sounds very non-Irish, with surprising warmth from the metal
flute, and the use of 2 flutes on some tracks, create a delicate
interplay, that has its own sound.
Track 1, Painted Sky, Genesis, is a bright melody with lots
of "color", in a gentle tempo, that fades and then returns, joined
with piano accompaniment, that reminds me of the phrase "the end of a
Track 2, Nightfall, the title track, offers a moody, wistful
sound that calls to the deepening shadows, as if a lover is absent and
the heart is longing. Delicate synth accompaniments, add to the
emotional qualities of the piece.
Pushing the Boundaries of World Flutes
Review by Amy Martin, Moonlady Media
Every ethnic tradition has its wind instruments: the spare and breathy
Native American flute, the spare and tonal bansuri flute, the spare
and enigmatic bamboo flute.
Do you get the idea that a lot of ethnic flute is spare to the point
of emptiness? That's what makes Cornell Kinderknecht's flute and
whistle artistry such a delight. His is a conversational approach to
the flute, with dynamics reflecting of emotional interplay, a tasteful
use of electronics and exquisite choice of instruments. Lesser
flutists overuse breathiness to convey emotion. Kinderknecht does it
The double alto ocarina is one such example. Ocarinas, which originate
from South America and Mesoamerica, are usually simple clay flutes
with a few holes, often made in the shape of animals. Kinderknecht's
ocarina has two chambers with separate scales, making a one-person
duet possible. It's made of wood, enabling greater precision in the
sound. The six-inch long instrument holds its own against a full piano
in the bright and expansive duet "Alaska Highway."
But hang in there, it gets better, lots better. The two instruments
balance perfectly in "Santa Fe Sunset" and "Southwest Prelude." At
their best keyboards can provide an essential complement, giving shade
and tone to the flute melody. Some of the best flute combos on the CD
utilize an electronic keyboard, like in "Water" when it evokes water
dripping to the depths. It complements the low tone and languid melody
of Kinderknecht's unusual Native American flute, almost a yard long
and three inches in diameter.
Electronic keyboards come to the fore again paired with an Anazazi
flute in "Mystic Heart," providing a perfect texture of light moving
across immense mesas and canyons. Keyboards add mystery to the
melancholy longing sound of the bansuri flute in "Nightfall" and sound
like chimes and harp in "Nocturne," an excellent evocation of falling
night with its deepening unknown.
The CD contains outright flute solos like "At the Divide," a
standout track that showcases a bamboo flute, often electronically
overlaid in an elegant counterpoint. The song evokes the contemplation
of choices and the reflective optimism of a new path. "Heart
Crossing," with its variety of Native American flutes, showcases
Kinderknecht's exceptionally refined and versatile technique.
But it's a selection like "Day's End" with a full band that truly
shows Kinderknecht best. He uses a Native American flute in a
Latin-flavored song, accented with perfect touches of sandpaper blocks
by Frank Lunsford. The slow tango of Kinderknecht's flute with Cynthia
Stuart's creative keyboards, modified to sound more like a guitar, is
flirted with by Billy Bucher's artful percussion. An imaginative CD of
tunes like this could seriously nudge world flutes up there with the
saxophone as a pop instrument with a following in New Age and
~ Amy Martin
, Mother's Hands
, creates the feelings of tenderness,
for the memories of a mother's love and special tender care, in times
past, with piano accompaniment.
Track 4, Water, shimmering ripples play on the water's
surface, as the warmth of a low flute, and the gentleness of harp
strings, takes you dreaming.
Track 5, Southwest Prelude, is a gentle prelude to track 6,
that transitions into a brighter melody, quickly in track 6, utilizing
various synth effects in accompaniment.
Track 6, Santa Fe Sunset, jumps quickly into a brighter
melody that offers homage to the colors of the sunset, in the hills of
Santa Fe, with piano accompaniment.
Track 7, Mystic Heart, brings the haunting sounds of the
Anasazi flute, taking you on a journey, into the mysticism of the
ancients, with elements of Eastern mysticism blended in by the siruti
box, and gamelan like sounds, interwoven with crystals and
chimes. Perhaps a little bit of east meets west.
Track 8, At the Divide, is one of the brightest tracks, on
transverse bamboo flute, w/ synth guitar effects, piano, and siruti
box, conveying optimism and hope.
Track 9, Alaska Highway, brings the bright uplift of the
double wooden ocarina, blended with piano, in a feel good, "on the
road" kind of piece, which is the one piece that seemed less
night-like…until I remembered that Alaska is the land of the
midnight sun. You can feel the discovery, of the journey.
Track 10, Nocturne, is a quiet piece, blending Native flute,
gamelan sounds, and piano, with a touch of a hush, while a second
flute adds quiet highlights to the gentle melody.
Track 11, Gratitude, employs the low D Irish whistle, and
piano, in a piece that is very non-Irish, in sound, offering a warm
melody, conveying grace and beauty.
Track 12, Heart Crossing, begins as the most native sounding
piece in this work, utilizing 2 flutes with complimentary tonalities,
beginning as a mostly solo flute piece, which then transcends into an
almost renaissance kind of sound, in the second part of the
piece. Certainly, unexpected, and one wonders about the elements of
time, represented in this song.
Track 13, Day's End, has an almost latin rhythm, with synth
guitar, djembe, and sandblock percussion, and the Native flute dances
around and about the rhythm in a complimentary, but distinctive way,
with a touch of romance, and I found myself thinking of this as a
"movie" kind of piece.
The subtleties are the thing in this work, as the little twists and
turns open your eyes to the unexpected, all the while, hearing the
beautiful flute sounds, in a plethora of emotional appeals, for that
quiet time of day.
Visit Cornell Kinderknecht's web site, for more information, bio, and performance schedule, as well as ordering of this new CD.
Find your sound bytes and purchase here: http://www.cornellk.com