The communal act of improvisation shared between artists of deep understanding and appreciation can be truly breathtaking. In early 2024, longtime friends and collaborators cornetist Kirk Knuffke and bassist Thommy Andersson invited the legendary pianist/improviser Marilyn Crispell to perform with them and capture some of that magic. Meeting in Crispell’s haunts of Upstate New York, the trio recorded Paintbrush, a tremendous collection of thoughtful and illustrative pieces which capture their voices displayed on an aural canvas.

The musical partnership between the American Knuffke and Swede Andersson began a decade ago in the bassist’s adopted home of Denmark. The two began to play and record regularly in Europe, including concerts and recordings with the legendary guitarist Pierre Dørge. In 2022, Andersson had the opportunity to work with Crispell in Europe, which produced a recording, percussionist Michala Østergaard-Nielsen’s The Cave (Ilk, 2025)

Knuffke had long been a fan of Crispell’s music, having invested time and study into her recordings and live performances. Knuffke was also familiar with Crispell personally, as she regularly attended performances at the late Karl Berger’s Creative Music Studio in Woodstock, New York. Both musicians were deeply involved in Berger’s efforts in education and the grassroots promotion of the improvising arts.

With these developments and associations in mind, the idea to find a way to perform with Crispell was born. Knuffke and Andersson decided to reach out to Crispell about any potential projects. She was immediately excited about the opportunity and suggested that Knuffke and Andersson come to record at her preferred studio near her home in Woodstock, New York.

In January 2024, Knuffke and Andersson made the trek to Woodstock for a lovely weekend of music and camaraderie with Crispell. The trio eventually convened at engineer Chris Andersen’s Nevessa Production studios where they recorded a collection of improvised pieces along with originals by Knuffke and the spirit guiding the project, Karl Berger. The program flows in the order that the pieces were born or interpreted. The session began with an improvisation, while the tunes were pulled to played on the spot. Everything about the recording seemed organic and spirited.

The sounds of Knuffke’s cornet and Crispell’s bells introduce “Castilleja Miniata,” one of four improvisations that begin the program, all named for different varieties of the paintbrush flower. “Castilleja Miniata” blooms slowly with patient contributions from each member. “Castilleja Levisecta” continues with an impressionist spirit, ideas unfurling at their own pace. Bells and cornet seem to float over a droning bass on “Castilleja Hispida,” building intensity to the percussively dynamic “Castilleja Linariifolia.”

Knuffke’s “Think Without Thought” came from one of Berger’s adages. Crispell’s haunting piano sets a solemn mood before Knuffke’s shining cornet and Andersson’s warm bass join in. “Brightness” is a piece by Knuffke that had become a part of the shared repertoire between the cornetist and bassist. Andersson takes the lead here, as his resonance provides a comfortable space for his trio mates. The playful melody of Berger’s “How Am I” brings the trio to a swinging place where Crispell and Knuffke could dance over a walking bass line.

Berger’s “Sneak Head” follows with an Ornette Coleman-esque mystique, while Knuffke’s “Arms In Hands” sounds on a deceptively tricky head, opening up with Crispell’s echoing harmonic fills and Knuffke’s feinting horn. Knuffke’s “A Little More So” brings a noirish tint to the program, the bluesy ballad being a timely change of pace. The program concludes with a final paintbrush contemplation with “Castilleja Chromosa,” the trio finding a warm and austere gauche of sound that resonates to conclusion.

The inspired partnership between Marilyn Crispell, Kirk Knuffke, and Thommy Andersson provides a living art awash with colors and textures. Paintbrush is a moving portrait of spirit in harmony.