Review by Peter Turner, November 7, 2022
In October 2022, I had the pleasure of attending a fundraising event in Ottawa for the Birdsong Foundation - an organization that showcases the work of musicians coping with mental health issues. Through that event - and through subsequent perusal of recordings by Ben’s Motel and The Everything Bagel - I have gained an appreciation of Allan Kinney’s varied body of work.
There is some overlap between the two bands’ recordings - both in repertoire and in personnel - and both bands were featured at the Ottawa fundraiser. As composer, keyboardist and singer, Allan Kinney is the anchor of both groups. Disclosure: Allan and I have been friends since the mid-1970s, by which time his status as a child prodigy was already well established in local piano circles.
The 1970s vibe permeates Allan’s recorded output, yet the music is not nostalgic. “Not Here, Not Now” and “Freedom of Association” are only two examples of Kinney songs whose dystopian visions reflect current anxieties. Allan’s talent as a humorist comes through on “Designated Driver,” a hilarious polka that uses both piano and accordion to great effect. Tunes like this and "Vlad 'the Impaler' P." - a homoerotic satire of Russia’s despised president - demonstrate Allan’s ability to obliterate the line between parody and serious social commentary.
Allan’s portfolio contains an endless variety of rhythms and “feels.” This is true not only across his recorded oeuvre - but also within individual songs. A fine example of this is “Burn This When You’ve Finished,” which juxtaposes an aggressive three-quarter-time intro with a calm and dreamy vocal section - before suddenly plunging into a daring 7/4 instrumental jam that retains its momentum despite the challenging time signature. Many of the songs also feature catchy reggae grooves. His singing invites comparisons ranging from Tom Waits to Leonard Cohen and Johnny Cash. In the end, though, Allan’s voice is distinctly his own - even on tunes such as “Not for this World” that feature his high falsetto. Other selections employ entire choruses of singers.
Allan Kinney’s works reveal his mastery of language. In both English and French, he is a loquacious storyteller who is able effortlessly to traverse stylistic boundaries. He is at his most engaging when using short, repetitive, rhyming phrases, such as in “She Wants Another Man” and the jarring “Not Here, Not Now.” Even without words - such as on “Pianoworks" and on the instrumental version of “The Teacher” - Allan is capable of creating work that is cinematic in scope.
Overall, Allan’s music is superbly written, arranged, performed and produced. On stage and in the studio, he communicates his vision with subtle mastery. This arty music may be challenging for general audiences. But to those who make the effort to explore Allan’s collected works - as rendered by Ben’s Motel and The Everything Bagel - the pleasures and rewards reveal themselves through intentional and repeated listening.
About the author: Peter Turner is a trombonist on the traditional jazz and swing scenes of Ottawa and Toronto. His web site is at www.trombonist.ca