The music on Tuesday’s Child is indeed a musical island of peace and introspection

Dark Delishious Music

Robert Kyle (saxophone and flute); Alyse Korn (piano and vocalese); Kevin Winard (drums and percussion); Hussain Jiffry and Ahmet Turkmenoglu (bass); Leonice Shinneman (tabla)

Tuesday’s Child is a collection of peaceful and meditational jazz, featuring songs that softly build on its melodies and motifs. By employing a combination of European melodies with subtly and sparingly used Afro-Caribbean rhythms, Tuesday’s Child gives it introspective mood an occasional energetic boost that magnifies paired piano and woodwinds as they softly move across the songs on this album.

The albums’ songs are all effectively duets. Even when decorated with subdued rhythms. Tuesday’s Child focuses on the interplay between Kyle’s flute/saxophone and Korn’s piano/vocalese.

Kyle and Korn wrote each song on the album with a specific memory in mind, but the songs transcend their inspirations. As the old nursery rhyme says, Tuesday’s Child is full of grace, and this is such an apt title for the album.

Gratitude is simultaneously peaceful and playful. Korn’s vocalese lays over the piano and spare saxophone and percussion and percussion, stirring it all together.

On What if, Kyle’s graceful and reaching flute carries the listener into the clouds, especially when contrasted against Korn’s dynamic, Afro-Caribbean rhythm piano rhythm. The song glides between slower and faster tempos as if to suggest a mind contemplating two distinct aspects of the question what if?

Your Light is a lilting duo between tenor saxophone and piano. Kyle wrote this song about his relationships with Korn.

Distance Between Us starts with a soprano saxophone that sounds melancholy suggesting that perhaps the distance of the title is farther than we think it might be. The piano and percussion again employing subtle Afro-Caribbean splashes, especially in Korn’s rhythmic piano suggest it may be closer.

Winter sounds like a winter morning where the air is cold, and the sky is bright blue and offers a playfulness to its delicate proceedings. Korn’s vocalese line at the end of the song is so subtle it a listener could miss it, but it’s to lovely not to miss! Blue Jack, which Kyle wrote in tribute to an Uncle, is the most swinging and blues-tinged song on the album.

The percussion on Vivian’s Danzón and the Kyle’s rolling, Brazilian piano chordal rhythms makes this song jump, especially compared to the more sedate songs on this album. Korn wrote Ruby’s Dream on a piano that Ruby Kyle dreamt she gifted to Robert Korn. It’s a fitting end to the album that shows how closely intertwined these musicians are.

Robert Korn says, “There’s a lot of turmoil in the world today, and we hope that when people listen to our music, they will feel the peace that we feel when we play it.”

The music on “Tuesday’s Child” is indeed a musical island of peace and introspection. The instruments on each track softly sing to each other and sing to both the present moment and to the individual moments that each song.

Reviewed by Ben Miller