Extraído de mi reseña para Tomajazz:
"Knuffke hace gala de una habilidad mayúscula, tanto en la trompeta como con la pluma, y se deja infectar por sus profesores e influencias con naturalidad y coherencia, sin ningún deje de copycat, tan habitual en debuts discográficos. Ornette Coleman, Butch Morris y en menor medida Ron Miles han dejado su impronta en Knuffke y su música; consciente o inconscientemente, tiene brochazos estilísticos de todos ellos."
"No podemos afirmar estar ante una obra capital, pero sí ante una solvente y ambiciosa exposición de ideas que tienen mas de tradición que de vanguardia, y que poseen la suficiente personalidad para competir por la atención de cualquier aficionado."
La reseña original completa pinchando aquí o en la portada. Adjunto, por petición popular, una versión traducida al inglés.
Translation by Naiara Gago
Although Kirk Knuffke is not a beginner, Big Wig is decidedly a debut. His references, the music aspects important to him and a big sense of companionship set the beat all along the recording. But there are debuts and debuts, ant this is a first-rate one.
Not without a little daring, the front line of this quartet is nowhere near as typical; with two metals carrying all the melodic weight, the circumstances become more unfriendly than usually and technical difficulties ask for an outstanding skill for the instrumentalists. Luckily enough, Knuffke and Brian Drye are absolutely capable and they get the band to sound tremendously compact.
Knuffke shows a superb ability, either on trumpet or on his writing, and he allows his teachers and influences to sink in him in a natural and coherent way, without any copycat gestures so usual in discographic debuts. Ornette Coleman, Butch Morris and, to a lesser extent, Ron Miles have left their mark on Knuffke and his music; conscious or unconsciously, he has stylistic brush strokes of all of them. As instrumentalist, the one who has left a bigger mark in him is Dave Douglas, whose thick and round sound can be glimpsed in some of the trumpet player’s interventions.
However, the greatest value of Big Wig is that it is not, by any means, a CD of prominences, but of total community. Although there is, of course, some soloing, most of it turns out to be nicely invaded by enlightening lines that support the original phrase. Radding and Davis’ solid rhythmic skills allow Knuffke and Drye to feel free and confident to interweave one improvisation after another in a music that, in addition to this, is terribly composition-oriented. We can not say that we are in front of a masterpiece, but in front of an ambitious and competent exhibition of ideas that posses more tradition than vanguard and which is personal enough to compete for the attention of any enthusiast.
In Big Wig, more than design, there is construction; more than opposition, there is support and, above all, more than talking, there is conversation, and everything said in it is interesting.
Yahvé M. de la Cavada, 2008