Alexander Claffy - Memento

Styles: Jazz
Year: 2024
Time: 49:26
File: MP3 @ 320K/s
Size: 113,6 MB
Art: Front

(10:06) 1. Brother
( 8:32) 2. Tokyo
( 7:22) 3. Tassia
( 7:22) 4. Jinriksha
( 8:55) 5. This Nearly Was Mine
( 7:07) 6. Power Station

I’d like to open by thanking everyone who helped to make this album possible. You know exactly who you are and I couldn’t have made it without you.

“Memento”, derived from the concept of “Memento Mori” is my 10th leader effort. By the time this album has been released I’ll be 32 years old. In an age where releasing 50 minutes of consecutive music may seem archaic, I’m just doing my best to document a place and time in my growth and development. When the stars align and I see a group of musicians that can come together and document a sign of the times, I jump at the chance. Even if I myself am not in the exact shape I want to be to record, I’ll take that risk.

This document serves as a reminder of what high level musicianship is still coming out of New York City. To be able to have one of the world’s greatest geniuses, my brother, Kurt Rosenwinkel contributing to this record is a dream within itself. I did my best to assemble some of my favorite voices, and give a pallet which everyone could speak their minds onto.

The goal here was to bring some emotionally powerful music that reminds us each: to enjoy and be grateful. Every day could be your last. And that’s how I’m trying to consistently play and contribute art for the rest of my days. A musical “Memento Mori”, that translates that urgency into song. This Record is dedicated to the memory of my father, Joseph Francis Claffy.
Yours Truly, Alexander Claffy https://alexanderclaffymusic.bandcamp.com/album/memento

Personnel: Alexander Claffy - bass; Kurt Rosenwinkel - guitar; Jimmy Macbride - drums; Matt Chalk - alto sax (tracks 1, 5); Tim Brey - piano (tracks 1, 4-6); Dave Kikoski - piano (tracks 2, 3 & 4); Stacy Dillard - tenor saxophone (tracks 2 & 4); Eric Alexander - tenor saxophone (track 6); Simon Moullier - vibraphone (tracks 1, 2, 4 - 6)

Memento

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Daniel Hersog Jazz Orchestra - Open Spaces

Styles: Trumpet, Big Band
Year: 2023
File: MP3@320K/s
Time: 74:33
Size: 171,5 MB
Art: Front

( 4:21) 1. The Wreck Of The Edmund Fitzgerald
( 6:54) 2. How Many Roads
( 4:52) 3. Ahead By A Century
( 8:12) 4. Shenandoah
(11:07) 5. I Hear
( 8:27) 6. Jib Set
( 9:35) 7. Canadian Folk Song
( 9:42) 8. Rentrer
( 5:44) 9. Sarracenia Purpurea
( 5:36) 10. Red River Valley

Locked down and socially distanced during the pandemic, composer-arranger Daniel Hersog had an interesting idea: rearrange some well-known and well-loved folk songs, most with Canadian roots, for jazz orchestra and throw in a handful of his own original compositions with a folk-tune ambience. The result is Open Spaces: Folk Songs Reimagined, the sophomore album by Hersog's Vancouver-based ensemble.

As on his debut recording, Night Devoid of Stars (Cellar Music, 2020), Hersog welcomes a number of talented guest artists to sit in: trumpeter Brad Turner, saxophonists Scott Robinson and Noah Preminger, guitarist Kurt Rosenwinkel, pianist Frank Carlberg. With an orchestra and guests of that caliber, it would seem a sure bet to number Open Spaces among the more persuasive big-band albums of the year.

As you can't, however, judge a book by its cover, so you can't appraise an album by its pedigree. In spite of presumably having every element in place to allow it to soar, Open Spaces seldom makes it off the ground. While the words "ponderous" and "overblown" spring to mind, the reasons are several, and Hersog's generally unimpressive charts account for only one of them. Soloists pose another problem. Although there is ample room for improvisation on most numbers, no one has much of interest to say—not even the usually dependable Robinson, whose unassuming baritone solo on "Shenandoah," Hersog writes, "had [him] in tears."

Truth be told, there is a reason why folk songs always have been and remain so popular among the masses: they tell persusasive stories that are usually upbeat and hopeful, making listeners feel good about themselves and humanity in general. There is little of that optimism or cheerfulness here. Indeed, the opposite is far too often true, as everyone seems intent not only to "reimagine" folk songs but to make them as somber and tedious as possible. Everything, it seems, plods glumly along, from Gordon Lightfoot's "The Wreck of the Edmund Fitzgerald" to the traditional "Red River Valley," which brings the largely austere session to a suitable close.

So what can be done to spruce up a dismal album such as this and make it shine? The answer, dear friend, may be "blowin' in the wind," but you won't find it here. By Jack Bowers
https://www.allaboutjazz.com/open-spaces-daniel-hersog-cellar-music

Personnel: Daniel Hersog. trumpet.; Kurt Rosenwinkel. guitar.; Scott Robinson. saxophone, tenor.; Noah Preminger. saxophone, tenor.; Frank Carlberg. piano.; Ben Kono. saxophone.;Brad Turner. trumpet.;Kim Cass. bass, acoustic.

Open Spaces (Folk Songs Reimagined)

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Kurt Rosenwinkel - Undercover: Live at the Village Vanguard

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 53:12
Size: 122,2 MB
Art: Front

( 8:16) 1. Cycle Five
( 7:03) 2. The Past Intact
( 7:58) 3. Solé
( 7:19) 4. Our Secret World
( 9:37) 5. Music
(12:57) 6. Undercover

Legendary guitarist and composer Kurt Rosenwinkel's latest quartet with visionary jazz musicians Aaron Parks (Piano & Fender Rhodes), Eric Revis (Acoustic Bass) and Greg Hutchinson (Drums). The group's exhilarating recording Undercover: Live At The Village Vanguard is a selection of seven of Rosenwinkel's original compositions, captured over three nights of their week-long run at the historic Village Vanguard, the legendary New York jazz club that has been host to the defining artists in jazz, including Bill Evans, John Coltrane, Sonny Rollins, Joe Henderson, and countless others.

Undercover: Live At The Village Vanguard captures the joyous, visceral energy of Rosenwinkel's masterful quartet, and easily finds its place in the continuum of historic recordings made there. Editorial Reviews
https://www.amazon.com/Undercover-Live-at-Village-Vanguard/dp/B0C4FPMY2Y

Personnel: Kurt Rosenwinkel – guitar; Aaron Parks – piano, keys; Eric Revis – bass; Greg Hutchinson – drums

Undercover: Live at the Village Vanguard

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Brian Blade & The Fellowship Band - Kings Highway

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2023
File: MP3@320K/s
Time: 50:12
Size: 116,0 MB
Art: Front

( 4:44) 1. Until We Meet Again
( 5:04) 2. Catalysts
( 5:23) 3. People's Park
(13:00) 4. Kings Highway
( 4:20) 5. Look to the Hills
(15:05) 6. Migration
( 2:33) 7. God Be with You

The Merriam-Webster Dictionary defines fellowship as "community of interest, activity, feeling, or experience," which seems to state well what Brian Blade & The Fellowship Band have been doing, cultivating a certain sound for over 25 years. The community is drummer Brian Blade, pianist Jon Cowherd, saxophonist Melvin Butler, saxophonist and clarinetist Myron Walden, bassist and synthesizer player Christopher Thomas and guitarist Kurt Rosenwinkel. The interest and activity these folks share is playing music, specifically jazz music. Finally, the feeling or experience one gets from the music is one of joy and inspiration. One can only guess at the joy they experience performing together, but the music makes a strong case for it.

Listening to Kings Highway one can feel this fellowship, the solidarity of the musicians, their sense of purpose to achieve a feeling that goes beyond the notes or the technical abilities of the individual players. Not all jazz is like this. Often a particular soloist is forefront, supported by the others driving the leader's vision and solos to express themselves.

The opening track, Blades' "Until We Meet Again," starts with synth and then guitar and piano, bass, some brushes on the drums then the horns, building a repeating melody until the whole ensemble is playing boldly and solemnly together. The next track, "Catalysts," starts off more upbeat with the guitar and then the sax and later the synth taking us on a journey. One destination along the way is the next track, "People's Park," which, as with the previous track, written by pianist Jon Coward, is a quieter place for reflection and contemplation. Back on the highway we go again in the form of the 13-minute title track which has a jazz-rock fusion feel to it until it melts into a cool bass solo that leads into some great playing by the two sax players and finally the pianist expressing himself joyfully. "Kings Highway " is a standout cut and well picked to be the album's title. Now further down the road we "Look To The Hills," which starts out with railroad drumming leading to some more spiritual passages.

Spiritual is a word that comes to mind often when listening to this band. Though this recording feels more fusion inspired at times than previous albums, there is always a return to a sound with a palpable sense of a searching for holiness, for truth, for fellowship, not only amongst the players, but with the listeners as well. The album ends with a spiritual hymn and prayer named "God Be With You," written by William G. Tomer (the only track not written by Blade or Cowherd) and setting a final, beautiful, solemn tone to the record. With this record Brian Blade and The Fellowship Band invite the listener along to join their fellowship on a musical highway of life, and so we should. By Cary Tenenbaum https://www.allaboutjazz.com/kings-highway-brian-blade-and-the-fellowship-band-stoner-hill

Personnel: Brian Blade: drums; Melvin Butler: saxophone; Jon Cowherd: piano; Kurt Rosenwinkel: guitar; Christopher Thomas: bass, acoustic; Myron Walden: saxophone.

Kings Highway

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Kurt Rosenwinkel Standards Trio - Reflections

Styles:  Straight-ahead/Mainstream, Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 50:22
Size: 115,5 MB
Art: Front

(9:08)  1. Reflections
(3:33)  2. You Go To My Head
(4:00)  3. Fall
(9:49)  4. East Coast Love Affair
(5:20)  5. Ask Me Now
(6:23)  6. Ana Maria
(8:55)  7. More Than You Know
(3:11)  8. You've Changed

Like an Ian McEwan short story, guitarist Kurt Rosenwinkel can say more in a few lines than most guitarists manage over the course of an entire recording. On Standard Trio: Reflections he inscribes his signature sound on a set of ballads all classic tunes except for one original. His trio of bassist Eric Revis and drummer Eric Harland are perfect companions on a collection where less is truly more; they eschew the pyrotechnics for a steady accompanying swing. Harland a member of the SFJAZZ Collective who has also played with Charles Lloyd has worked with Rosenwinkel before, accompanying the guitarist on his last disc, The Remedy (Artist Share, 2007), a burning display of technique and soloing from an engagement at the Village Vanguard with saxophonist Mark Turner and pianist Aaron Goldberg. Gone is the exhilaration of that live set, replaced here with the robustness of a confident player settling down to tell a more intimate story. 

Rosenwinkel's listeners are his confidants as he negotiates two tracks by Thelonious Monkand two by Wayne Shorter. He soars over the bossa nova laid down behind Shorter's "Ana Maria" and nudges against the bright urban beat of "Fall." Rosenwinkel slyly reworks both Monk tunes. As Harland skips and Revis bounces the beat on "Ask Me Now," Rosenwinkel cradles the melody, rocking back-and-forth. Likewise, he forces the title track, Monk's "Reflections," to be reconsidered not with nostalgia for the past, but a blues-inspired hopefulness for the future. Elsewhere, the classic tracks "More Than You'll Know," "You Go To My Head," and "You've Changed" exude a luxuriousness, not of affluence but delight. Rosenwinkel, Harland, and Revis bypass the circuitous here for a direct and transparent take on some beautiful music. By Mark Corroto http://www.allaboutjazz.com/reflections-kurt-rosenwinkel-wommusic-review-by-mark-corroto.php

Personnel: Kurt Rosenwinkel: guitar; Eric Revis: bass; Eric Harland: drums.

Joe Farnsworth - In What Direction Are You Headed?

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:53
Size: 142,5 MB
Art: Front

( 7:13) 1. Terra Nova
( 9:29) 2. Filters
(10:33) 3. In What Direction Are You Headed
( 5:00) 4. Composition 4
( 7:24) 5. Anyone but You
( 6:44) 6. Safe Corners
( 5:31) 7. Bobby No Bags
( 9:55) 8. Someday We'll All Be Free

I have been listening to music accompanied by the esteemed drummer Joe Farnsworth for over 30 years, especially via a favorite ensemble, One For All. I know he is good, but how good wasn’t clear to me until now.

Farnsworth, who will be leading a band at the Jazz Showcase from May 11th through the 14th, has always been “a drummer’s drummer,” capable of providing stalwart support of most any ensemble.

Generally known for his “old school” pocket behind post-bop performers, Farnsworth’s new album In What Direction Are You Headed? Is a wily departure from his usual fare, involving a new generation of players while keeping a veteran rhythm core at the center, creating a plaiting of generations.

On In What Direction are some of the finest contemporary talents: featured guitarist Kurt Rosenwinkel, altoist Immanuel Wilkins (whose appearance at last year’s Jazz Festival was woefully undersold), and keyboardist Julius Rodriguez. At the bass helm is Robert Hurst, who has moved forward from his crucial Marsalis experience to become a respected support player.

The album’s title, and title cut, comes from an attempt to bridge those generations, a way for Farnsworth to indicate to his homies that he is not straying far away from his roots but wants to move forward to involve the top tier of current musicians steeped in multi-genre upbringings. Farnsworth first played the tune with the late, sorely-missed, pianist Harold Mabern at the Vanguard. Joe then asked Mabern’s son Michael (who provides an enjoyable conversation with Farnsworth as the liner notes) if he could use the tune on the new album as a way to establish a musical trope.

Rosenwinkel’s presence invigorates Farnsworth and provides a clear subtext to the proceedings: this is not your dad’s music, but we do remember your dad. The world-recognized guitarist gets three compositions here, and his guitar is definitely not representing another version of Grant Green.

And on Mabern’s “In What Direction Are You Headed?”, the bridge is built. Rodriguez opens with a funky Fender Rhodes riff that leads to a brightly-rendered melody from both Rosenwinkel and Wilkins, an arrangement that occurs frequently. As the two meander through the bars, the playing becomes more elastic, fushionesque. Rodriguez gets the first solo while Farnsworth sounds like Buddy Rich during his “trying to be cool in the 60’s” period (not meant to be pejorative). Wilkins lets loose with a postmodern squall before Rosenwinkel steps on the effect box to render a lovely, angular statement.

Farnsworth also has a solo opportunity (one of three in the selections) that builds on his first one, an eye-opening display during selection two, Rosenwinkel’s “Filters.”

Wilkins’ contribution “Composition 4” (placed, of course, fourth on the listing) is the quietest of the songs, showcasing the album’s juxtaposition of sax and guitar. Wilkins has the melodic lead, as Rosenwinkel adds shimmering comp atop Rodriguez’s folky acoustic fills.

Rodriguez’s “Anyone But You” is the bop tune that demonstrates the youths’ ability to travel quickly, with Rosenwinkel especially impressive with his McLaughlin-like display; Wilkins, likewise. Does Farnsworth keep up? Impressively, yes. And Rodriguez is impressive, too. Any questions about how the “new generation” can deal with the “old” are answered here.

The album opener “Terra Nova” and “Safe Corners,” both Rosenwinkel compositions, are reflective tone poems that suggest geographical influences. Both have slightly Latin touches and comparatively are more austere in arrangement while gorgeous as soundscapes.

On “Bobby Low Bags” Farnsworth gives Hurst a chance to shine, and the bassist relishes the moment in bluesland. Meanwhile, Wilkins displays his bop chops, something I wasn’t sure he could pull off. Rosenwinkel, with guitar effect applied, follows through with his rejoinder, while Rodriguez shares his own piano offering before Farnsworth finishes with a short solo. Here, again, sax and guitar coalesce as Hurst completes the tune.

The closer, Donnie Hathaway’s “Someday We’ll All Be Free,” is clearly symbolic, one more bridge to join sides. The soulful ballad gets an ornate, upper registered greeting from Wilkins while Rodriguez morphs Philly soul as Rosenwinkel carries forth with an effected solo that replaces Hathaway beautifully. You’d think Wilkins picked up a soprano for this one, but it’s just another way for him to demonstrate his facility, while Hurst carries the song with his own lyrical backup.

We’ve been treated with some great music in 2023 so far, but this album blew me away unexpected but welcomed, nonetheless. Joe Farnsworth, in excellent form, not only evinces his wide talent but also his wisdom, casting a vision for our jazz future that doesn’t eschew the genre’s blues roots while still advancing. In What Direction Are You Headed? Is both a good question and an essential album for the 21st Century. By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-joe-farnsworth-in-what-direction

Personnel: Joe Farnsworth, drums; Immanuel Wilkins, alto sax; Kurt Rosenwinkel, guitar; Julius Rodriguez, piano and fender Rhodes; Robert Hurst, bass

In What Direction Are You Headed?

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Jim Snidero Feat. Kurt Rosenwinkel - Far Far Away

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 54:09
Size: 126,1 MB
Art: Front

(6:59) 1. Far Far Away
(7:38) 2. Infinity
(7:00) 3. It Might as Well Be Spring
(6:56) 4. Nowhere to Hide
(7:52) 5. Obsession
(5:16) 6. Pat
(4:45) 7. Search for Peace
(7:41) 8. Little Falls

Far Far Away brings us ever so close to the genius of Jim Snidero. An incandescent affair built upon the pillars of new partnership and continuing collaboration, it showcases a marked consistency in craftsmanship and inventiveness that leaves no doubt as to this artist's place in the jazz firmament. Of course, seasoned listeners need no reminders about his elevated status. The vaunted alto saxophonist has been delivering dynamic performances as a leader on record for the better part of four decades, winning critics over and gaining plenty of fans with that work. Snidero's Blue Afternoon (Criss Cross, 1989) was rightly tagged as a modern classic through its inclusion in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums; he turned plenty of heads playing atop his own arresting orchestral arrangements on Strings (Miles-tone, 2003/Savant, 2021), which received the highest "Le Choc" review from Jazz Magazine (France) and saw the music and its creator cited as "belonging to a very exclusive club (Fischer, Ogerman, Sauter) of great successes in the genre"; and at the height of the COVID-19 pandemic, when gigging opportunities were risky and scarce, he found a way and triumphed with Live at the Deer Head Inn (Savant, 2021), earning serious admiration and a rare 5-star review in DownBeat Magazine.

Those offerings demonstrate an extraordinary level of artistic achievement over wide spans, as Snidero successfully charted his way through vastly different territories in his thirties, mid-forties and sixties. And with many dates in his enviable discography branching out into other areas a celebration of the organ combo on Tippin' (Savant, 2007), a look at modernistic flow in Stream of Consciousness (Savant, 2013), an intrepid immersion in Korean culture for Project-K (Savant, 2020) those highlights provide just a mere glimpse of his capabilities when in command. The portrait of Snidero truly broadens with every single entry in his catalog, and that obviously includes this landmark 25th recording.

On Far Far Away, legend meets legend for an incredible journey to the outer limits. Returning to the studio after his triumphs on the stage, the renowned altoist joins forces with inimitable guitar hero Kurt Rosenwinkel. It's a pairing that's as unlikely as it is intriguing, opening the doors of possibility for the saxophonist: "For me, Kurt is one of the great jazz figures of the 21st century. His concept of sound and phrasing are so original and compelling, yet his playing is firmly grounded in the tradition. Achieving that combination is no small feat. There's just so much there that I wanted to take advantage of as a composer."

Opting to write new material tailored to Rosenwinkel's cut, Snidero eyes the horizon and what lies beyond. And in bringing back the ace rhythm section from Live at the Deer Head Inn forward-thinking pianist Orrin Evans, in-demand bassist Peter Washington and sterling drummer Joe Farnsworth he acknowledges a winning combination of musicians while refocusing their efforts: "The live record was really all about the moment 'A token of hope, a prayer for the return of live gigs,' as London Jazz News so eloquently put it. It was just getting up there, relaxing and playing tunes that would hopefully bring some joy to folks during some difficult times. With the addition of Kurt, and the focus on originals now, this album is really quite different."

Illustrating that truth right out of the gate, Snidero sets a course to the stars for the title track. The first of many pieces to capitalize on Rosenwinkel's signature sonics, it spotlights both frontline members as euphoric soloists, highlights some significant chemistry in their matchup, and provides additional space for Evans and Farnsworth to shine. Dialing things back for the follow-up the cobalt-shaded "Infinity" the quintet plays toward straight-time seduction as it crests waves of its own creation. Reflecting the very nature of the Snidero-and-Rosenwinkel partnership, those opening numbers offer contrast while proving complementary. Switching gears with a subtly reharmonized look at Rodgers and Hammerstein's "It Might as Well Be Spring," the leader delights in the opportunity to bare his soul on one of his favorite ballads. The album's lone dip into the Great American Songbook, and one of the finest examples of Snidero's sound on record, it proves to be a model of class and sensitivity.

Returning to the realm of originals, the saxophonist delivers three consecutive winners from as many angles. The bounding "Nowhere to Hide," ripe with harmonic tension and conflicting extensions, brings piquancy to the center of the picture as Snidero's pointed lead, Rosenwinkel's liquid heat and Evans' down-the-middle designs each make strong impressions. Then "Obsession" arrives, taking shape around a simmering funk feel and serving as the only one of its kind on the playlist. Dynamic comping and interplay on the rhythm side help to create arched expressions within its well constructed framework, ultimately supporting and encouraging those at the fore. Closing this trifecta of new compositions with "Pat" a blues-based gem tapping into the spirit of the legendary Pat Martino everybody takes a moment to give due respect to a dearly departed jazz guitar icon and his enduring influence.

Adopting a reflective stance in the penultimate presentation, Snidero looks to the late McCoy Tyner's ever-relevant "Search for Peace." A breathtaking ballad that gives pause to admire both music and message, it's a perfect vehicle to accentuate the leader's tender side, Rosenwinkel's singing strings and Washington's purposeful pizzicato. Then it's back to new wonders with "Little Falls," a swinging sendoff that's right in everybody's wheelhouse. Washington's walking lines and Farnsworth's ride cymbal lay the groundwork as the group's core soloists captivate through the beauty of their ideas. Demonstrating clear direction, this exit piece, much like everything preceding it, speaks to Snidero's great attention to detail with this project: "I spent quite a bit of time thinking about the band's sound while writing how to layer certain elements such as timbre, harmony and range, to both blend and (sometimes) conflict, creating more depth. It's about putting it all together while being musical and projecting warmth. That's what I value most of all." Not surprisingly, that comes through in the wondrous mix on Far Far Away. By Dan Bilawsky https://www.allaboutjazz.com/far-far-away

Personnel: Jim Snidero: saxophone, alto; Kurt Rosenwinkel: guitar; Orrin Evans: piano; Peter Washington: bass; Joe Farnsworth: drums.

Far Far Away

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Kurt Rosenwinkel - Berlin Baritone

Styles: Straight-ahead/Mainstream
File: MP3@320K/s
Time: 45:06
Size: 104,4 MB
Art: Front

(1:28) 1. Peace Please
(6:23) 2. Just Chillin
(4:54) 3. First Impression
(8:30) 4. Feelin the Blues
(7:40) 5. Under it All
(3:56) 6. Mellow D
(5:23) 7. Life of a Flower
(4:30) 8. Zarathustra
(2:18) 9. Metro City

Berlin Baritone is a uniquely intimate release, even in Rosenwinkel’s prolific discography, as listeners get to hear Rosenwinkel discover the timbral world of his new instrument with reverence and curiosity. In this stripped-down and intimate recording, you can hear just how deep and intuitive Rosenwinkel’s playing is.

His taut harmonic inventiveness is still intact, as is the tenderness of his touch, and his improvisational instincts are so sharp they feel almost indistinguishable from composed pieces. It’s as close as many of us will get to hearing Rosenwinkel play for you in his home, unguarded and reveling in the joy of playing his guitar.

The album opens with “Peace Please”, a short and plaintive improvisation that showcases Rosenwinkel at his most delicate and minimalist. There’s “Mellow D”, a breathtaking meditation on counterpoint that owes as much to Bach as George Van Eps. But of course, as much as Rosenwinkel has studied the music of others, he is of course, at this point in his career, most like himself, and his own sensibilities shine bright in the dense otherworldly harmonies of “Zarathustra” and the pianistic chord clusters of “Life of a Flower”.

Kurt Rosenwinkel: “When the instrument provides such a deep world of sound and beauty I find it is easy to lose myself in the music. I find the deeper range of the baritone to be more satisfying on its own than a normal guitar. It is a bit harder to play compared to a regular guitar. But that just leads to different musical things… I think the one who really inspires me on this instrument is definitely George Van Eps. He played a seven-string guitar with that deep bass sound.”https://jazzbluesnews.com/2022/12/02/cd-review-kurt-rosenwinkel-berlin-baritone-2022-video-cd-cover/

Berlin Baritone

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Iris Ornig - No Restrictions

Styles: Contemporary Jazz
Year: 2012
File: MP3@320K/s
Time: 63:12
Size: 147,1 MB
Art: Front

(4:18) 1. Autumn Kiss
(6:56) 2. We Shall Meet Beyond the River
(6:37) 3. Venus as a Boy
(4:33) 4. No Restrictions
(6:21) 5. If Anything Goes Wrong
(5:55) 6. The Way You Make Me Feel
(7:27) 7. Gate 29
(5:46) 8. Spark of Light
(7:09) 9. No Restrictions Version II
(8:06) 10. Uptight

Intrepid bassist Iris Ornig's second release follows the thematic structure of her remarkable debut, New Ground (Self Produced, 2009), but is more polished and coherent, hence more engaging. This is a hard goal to achieve, as the first was a thoroughly enjoyable and stimulating album.

If New Ground was a collection of short stories sharing a common thesis then No Restrictions is a novel, exploring a similar leitmotif and expanding on it. The emphasis is more on original compositions, and even the two arranged covers do not come from the jazz canon but are of pop music origin.

On Björk's "Venus as a Boy," Ornig's melodic bass and Marcus Gilmore's percussive drums build a framework with vague rock sensibilities. On this, the inimitable Helen Sung channels a subtler inner Don Pullen with modal and circular piano lines. Kurt Rosenwinkel's psychedelic yet earthy guitar, continuing Sung's train of thought, weaves an absorbing tone poem.

The other arrangement is Michael Jackson's "The Way You Make Me Feel," that gets a soulful groove with blue tinges and features trumpeter Mike Rodriguez's funky, Kenny Dorham-influenced sound. Ornig's own solo demonstrates her supreme lyricism and ingenuity as an improviser and an instrumentalist. Her complex embellishments not only bring the tune solidly into the jazz realm; they also demonstrate the full potential of an instrument that, even after a century of evolution, too often gets relegated to the role of a timekeeper.

The intricate and multilayered "Gate 29" is a gorgeous composition that features Rodriguez's burnished trumpet with the right amount of vibrato blowing a melancholic song. Like a modern day troubadour Rosenwinkel's romantic yet blistering tones maintains the wistful ambience. Sung's flowing but edgy pianism colors the piece with darker hues. Ornig's tight and deep vamps and Gilmore's keen and assertive polyphonics integrate the individual voices of the band members into a satisfying whole.

Not one to hog the spotlight Ornig relies on the intimate esprit du corps that permeates her quintet's ensemble work. The group creates a bittersweet ambience on the impressionistic ballad "We Shall Meet Beyond The River." Rodriguez's crepuscular and elegiac horn mixes well with Rosenwinkel's bluesy strings like a rain puddle shimmering in the setting sun. Ornig' resonant vibrations and Gilmore's sensitive brushes and sticks create a rhythmic structure that supports this elaborate interaction. Sung's keys sprinkle clusters of earthy notes like a gentle rain shower.

A consummate musician, Ornig demonstrates a combination of sophistication, maturity and originality with No Restrictions that is rarely present so early in someone's career. This unique elegance and worldliness will, hopefully, remain the trademark of her art for years to come.By Hrayr Attarian
https://www.allaboutjazz.com/no-restrictions-iris-ornig-self-produced-review-by-hrayr-attarian

Personnel: Iris Ornig: bass; Kurt Rosenwinkel: guitar; Michael Rodriguez: trumpet; Helen Sung: piano; Marcus Gilmore: drums.

No Restrictions

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Olivia Trummer - Fly Now

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 43:28
Size: 101,9 MB
Art: Front

(4:26)  1. Precious Silence
(3:32)  2. Snow Coloured Streets
(4:01)  3. Sharing My Heart
(3:39)  4. Gotta Miss Someone
(4:42)  5. Fly Now
(3:29)  6. All Is Well
(1:13)  7. Watching The Moon (Intro)
(4:01)  8. Watching The Moon
(6:13)  9. Stay Awake
(2:30) 10. Fly Now - Reflection
(5:38) 11. Don't Ask Love

Singer or pianist? Actually, both hats fit Stuttgart-born Olivia Trummer pretty snugly, as evidenced by her splendid opening slot for Charles Lloyd in Dublin's National Concert Hall in November alongside bassist David Redmond and drummer Kevin Brady and her subsequent sell-out show at the EFG London Jazz Festival. Trummer possess a soulful voice of pristine quality and displays a feathery, understated lyricism on the keys; both assets are finely tuned and beautifully balanced on this, her fifth recording as leader.  As a singer and lyricist Trummer is something of a late bloomer. A classically trained pianist and a jazz piano graduate from the Manhattan School of Music, it wasn't until Nobody Knows (Neuklang, 2010) her third release -that she felt confident enough to flex her vocal pipes. It's a case of better late than never, for on these original meditations on matters of heart and mind Trummer's crystal-clear articulation seduces like a jazzier Norah Jones. Her softly poetic introspection is lent New York gravitas by the rhythm team of Obed Calvaire and Matt Penman, with Kurt Rosenwinkel adding luster to several numbers. On the persuasive opener "Precious Silence" Trummer sings of "bridges built to change our lives" and this quietly stated optimism is emphasized by mantra-like repetition. It's a stylistic approach she reprises on the lightly funky "Gotta Miss Someone" and the jazzy "All is Well" -two tracks with potential commercial radio appeal and the slow-burning epic "Sharing My Heart." On this latter tune, Rosenwinkel weaves atmospheric lines over Trummer's continuous two-note motif while Calvaire and Obed move effortlessly between sotto voce stealth and stronger pulses.

Trummer's playing is characterized by economy and a lightness of touch, notably on the blue-toned title track; it's a solo outing of exquisite delicacy and throughout the recording in general mood trumps technique. Calvaire's brushes stir almost subliminally on the slow tempo track "Snow Colored Streets" as Trummer's high vocal notes glide over the sparse architecture. Likewise, the spacious arrangement of "Watching the Moon" accentuates the nuances of Trummer's caressing, less-is-more style. Her lilting wordless improvisations are also used sparingly, though perhaps a little more adventure in that department would have added spice. Occasional Rhodes piano and shimmering Hammond C3 inject strokes of color here and there, working particularly well on the slow-grooving "Stay Awake" where Trummer's soulful delivery underlines her obvious crossover appeal. Trummer's minimalist Rhodes dabs combine with Rosenwinkel's softly spiraling, pedal-driven lines on the arresting instrumental "Fly Now Reflection" while her strengths as a balladeer are foregrounded on the trio number "Don't Ask Love," a haunting lullaby that could have come from the Bill Evans songbook. Fly Now is Trummer's first release sung entirely in English and it could well be the one that introduces this multi-talented artist to a wider audience. Trummer's instantly appealing voice emotive and sensuousis arguably her chief weapon, while her lyrical piano playing works more subtle charms. The combination of the two on these finely crafted tunes is hard to resist. ~ Ian Patterson https://www.allaboutjazz.com/fly-now-olivia-trummer-contemplate-review-by-ian-patterson.php

Personnel: Olivia Trummer: vocals; piano; Fender Rhodes; Hammond C3; shaker; Matt Penman: double bass; Obed Calvaire: drum set; Kurt Rosenwinkel: guitar (3, 6, 10)

Fly Now

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Aaron Goldberg - Worlds

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 59:13
Size: 136,1 MB
Art: Front

( 8:05)  1. Lambada de Serpente
( 8:31)  2. Taurus
( 2:27)  3. Kianda's Song
( 5:05)  4. Unstablemates
( 5:10)  5. Modinha
( 5:28)  6. Salvador
( 4:26)  7. Oam's Blues
( 6:57)  8. Inutil Paisagem
(11:01)  9. Oud To Omer
( 1:58) 10. Between Worlds

Man, am I glad that pianist Aaron Goldberg and I never tried to apply for the same job. I'm not a musician, but you should see this guy's CV. While he was double-majoring at Harvard in history and science plus mind, brain and behavior, he was working with Betty Carter, gigging weekends in Boston and winning all kinds of awards, including the formidable-sounding Clifford Brown/Stan Getz Fellowship. After graduation (magna cum laude), he moved to New York and played with a bunch of top names, among them Joshua Redman. What next? Goldberg was a member of Wynton Marsalis's quintet and the Lincoln Center Jazz Orchestra. Ah, well, now we're onto something: he's one of those young fogeys, all chops and no soul. But, you know, the problem with this critique of the young conservatives is that, sure, Stanley Crouch (an intellectual guru to some) can be a pompous ass, but most of the players are damn good and indeed quite soulful. (And don't misunderstand me, Mr. Crouch: I mean that you are an often brilliant pompous ass.)
So, what about Worlds, Goldberg's third recording as leader? Is he stuck in the past? It's true that, listening to this album, you might think history had stopped with Everybody Digs Bill Evans. But for as long as the record is playing, these guys will have you convinced that maybe history should have stopped in 1958. Goldberg's playing is just delectable from start to finish. Admirers of Cecil Taylor or Marilyn Crispell might feel a kind of guilty pleasure digging his apparently retrograde style, but no guilt is necessary, and there's nothing retrograde about the style, either. The upside of the postmodern character of contemporary jazz is that all these stylistic strata can be sampled simultaneously. If you value the great piano trios, of which Evans's was surely the avatar, then go ahead and wallow in this trio's mastery of the idiom. And Goldberg's embrace of explicit and implicit Brazilian references contributes mightily to the unity and exuberance with which that mastery is expressed.

An essential ingredient in this record's success is the endlessly inventive interplay among the trio members: bassist Reuben Rogers and especially drummer Eric Harland play just as well as the leader, reminding us of the critical role played by bassists and drummers in great piano trios of times past. (Their CVs are not included in the press kit, but I'm reasonably confident that between them they hold a couple of biotechnology patents and/or Ivy League diplomas.) Plenty of young players are remarkably good sidemen, but it's relatively unusual that so young a leader can convey and communicate so coherent a musical vision over the length of an album. ~ Jeff Dayton-Johnson http://www.allaboutjazz.com/worlds-aaron-goldberg-sunnyside-records-review-by-jeff-dayton-johnson.php

Personnel: Aaron Goldberg: piano; Reuben Rogers: bass; Eric Harland: drums; Luciana Souza: vocals (3); Kurt Rosenwinkel: guitar (9).

Worlds

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Kurt Rosenwinkel - Kurt Rosenwinkel Plays Piano

Styles: Piano Jazz
File: MP3@320K/s
Time: 48:26
Size: 111,4 MB
Art: Front

(4:44) 1. Love Signs
(4:45) 2. Music
(4:37) 3. Lost Song
(5:09) 4. Whispers of Love
(4:13) 5. The Cross
(4:32) 6. For Dad
(4:34) 7. Cycle Five
(5:00) 8. Hommage à Mitch
(4:48) 9. Reassurement
(6:00) 10. Heavenly Bodies

Composer, multi-instrumentalist, bandleader, and Heartcore Records founder Kurt Rosenwinkel is acclaimed as one of the finest jazz guitarists of his generation, but many might not know that he is also an accomplished pianist. Heartcore Records is proud to present Kurt Rosenwinkel Plays Piano, an album of original compositions written and performed by Kurt Rosenwinkel. Some songs have been recorded and performed before, and will be familiar to fans of Kurt’s music. They are presented here as solo piano pieces, with the melodies, chord voicings, and rhythmic structures of these pieces intact and unadorned by the interpretation of bandmates. Listeners are afforded a glimpse into Kurt Rosenwinkel’s long relationship with the piano, as well as rare insight into his probing compositional mind. https://shop.heartcore-records.com/product/kurt-rosenwinkel-piano

Kurt Rosenwinkel Plays Piano

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Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Brian Blade - Brian Blade Fellowship

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 61:59
Size: 142,7 MB
Art: Front

( 9:31)  1. Red River Revel
( 7:26)  2. The Undertow
(11:06)  3. Folklore
( 4:21)  4. In Spite Of Everything
( 7:46)  5. Lifeline
( 9:11)  6. Mojave
( 4:34)  7. If You See Lurah
( 8:00)  8. Loving Without Asking

Brian Blade Fellowship is an impressive debut as a leader for Brian Blade, one of the best young jazz drummers of the '90s. Producer Daniel Lanois doesn't follow jazz conventions, letting Blade run wild and blend genres, as on "Folklore," where the adventurous, searching jazz meets pygmy chants. All across the album, there is the sigh of a steel guitar, which adds an unusual, exotic texture to a debut that is uniquely daring and richly rewarding. ~ Leo Stanley https://www.allmusic.com/album/brian-blade-fellowship-mw0000037563

Personnel:  Brian Blade – drums; Melvin Butler – soprano and tenor saxophones; Jon Cowherd – piano, Wurlitzer; Dave Easley – pedal steel guitar; Daniel Lanois – mando guitar; Jeff Parker - acoustic guitar; Christopher Thomas – acoustic bass; Myron Walden – alto saxophone; Kurt Rosenwinkel – electric Guitar

Brian Blade Fellowship

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Brian Blade Fellowship - Perceptual

Styles: Post Bop, Straight-Ahead Jazz  
Year: 2000
File: MP3@320K/s
Time: 53:56
Size: 124,2 MB
Art: Front

(6:28)  1. Perceptual
(7:56)  2. Evinrude-Fifty (Trembling)
(6:44)  3. Reconciliation
(9:10)  4. Crooked Creek
(2:40)  5. Patron Saint Of Girls
(1:06)  6. The Sunday Boys (Improvisation)
(9:09)  7. Variations Of A Bloodline: From The Same Blood / Fellowship (Like Brothers) / Mustangs (Class Of 1988)
(8:21)  8. Steadfast
(2:17)  9. Trembling

Far from your typical young jazz artist, drummer Brian Blade seems almost bent on avoiding classification. He's been found in the studio and/or on the road with such disparate employers as Joshua Redman, Bob Dylan, Seal, and Joni Mitchell. With technical prowess of obvious proportions, Blade is equally reticent about flashy drum displays, content to merely color and prod the composition at hand. All of this is as much apparent in his sideman stints as it is with his two Blue Note dates as a leader, Perceptual being the latest offering by his collective known as The Brian Blade Fellowship. A more varied and ultimately satisfying affair than the group's 1998 debut, Perceptual is still nonetheless a dark and brooding journey that has as its underlying theme society's current lack of humanity and value for young lives, keyboardist Jon Cowherd's "Reconciliation" being directly influenced by the shootings in Paducah, Kentucky. Much of what comprises this hour-long recital is of a restrained and pensive nature and those hoping for lengthy drum solos and the typical "burn-out" type of improvisations will have to look elsewhere. In fact, very little of the material here swings in the conventional sense, save for sections of "Steadfast" and the 5/4 lilt of "Crooked Creek." The one new addition to this group since the last record is that of guitarist Kurt Rosenwinkel and it's a curious one. I say this in consideration of the clear association between the spirit of this set and that of Rosenwinkel's own recent The Enemies of Energy. Stretching the comparisons even further, the Nordic strains of Jan Garbarek's musical personality (not to mention an overall chamber- like quality akin to the ECM mantra) are more than hinted at during the lengthy suite, "Variations of a Bloodline." All of this is not to suggest mere rote regurgitation on Blade's part, but to provide point of reference for the uninitiated.In the final analysis, Perceptual is a very likable and intoxicating brew that benefits from a collective sound that finds no one person in particular dominating the proceedings. The key will be for Blade, Rosenwinkel, and other purveyors of these latest musical developments to make sure they don't run aground much in the same way that the renaissance fostered by Marsalis and his ilk during the '80 led to many dead-end roads. ~ C.Andrew Hovan https://www.allaboutjazz.com/perceptual-brian-blade-blue-note-records-review-by-c-andrew-hovan.php

Personnel: Brian Blade- drums, guitar & vocals; Melvin Butler- tenor & soprano saxophone; Jon Cowherd- piano & keyboards; Dave Easley- pedal steel guitar; Kurt Rosenwinkel- electric & acoustic guitars; Christopher Thomas- bass; Myron Walden- alto sax & bass clarinet; Daniel Lanois- guitars (tracks 8 & 9 only); Joni Mitchell- vocal (track 8 only)

Perceptual

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Eli Degibri Quintet - In The Beginning

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 59:09
Size: 157,2 MB
Art: Front

(6:48)  1. In The Beginning
(6:15)  2. Painless
(5:49)  3. Shoohoo
(8:47)  4. Last Summer
(4:55)  5. Dance Attempts
(3:42)  6. Cherokee
(8:18)  7. Song For Roni
(4:11)  8. All The Things You Are
(5:33)  9. With You
(1:49) 10. With You - Epilogue
(2:58) 11. Fin

Young tenor saxophonist Eli Degibri brings a seasoned and somewhat unique approach to his debut recording, In The Beginning. While it's impressive that the Israeli native performed in circles with names such as Herbie Hancock, Al Foster, and the Mingus Big Band, it is more impressive to hear his own style and development come to the forefront. Paying your dues on the bandstand is one thing but leading a band and creating your own music is quite another. While In The Beginning rings with the familiar Coltrane sound, the music is delivered with thoughtful and refined performances that help to distinguish Degibri from other tenor saxophonists. It's not necessarily the sound of his horn, but more the other aspects of his style which captures attention. Soulful, poignant, and delivered with stark control, Degibri has clearly honed the finer attributes of his instrument. The eleven compositions span a tight area of modern jazz styles. The majestic "In the Beginning" carries a pervasive undulating guitar riff as the tenor sax sings the melody. On "Painless" the rhythm section shines bright as drummer Jeff Ballard and bassist Ben Street support each soloist on the lovely ballad. For those who prefer their post bop with a new outlook, the colorful "Shoohoo" should fit the bill, with its quirky interchanges that spin off some interesting guitar, drum and sax solos.

The recording's sound quality is also a factor: the delicate nuance of each instrument's sound is captured. On the duo "On All the Things You Are," the free-flowing sound of the bass and saxophone are exquisite. Another added element is the skillful presence of notable guitarist Kurt Rosenwinkel, who delivers an array of effects that enhance but never overpower the music. All things considered this is a strong and memorable debut from an emerging artist who warrants a closer listen. ~ Mark F.Turner https://www.allaboutjazz.com/in-the-beginning-eli-degibri-blue-moon-review-by-mark-f-turner.php

Personnel: Eli Degibri: tenor saxophone; Aaron Goldberg: piano; Kurt Rosenwinkel: guitar; Jeff Ballard: drums; Ben Street: bass.

In The Beginning

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Kurt Rosenwinkel & OJM - Our Secret World

Bitrate: MP3@320K/s
Time: 65:58
Size: 151.0 MB
Styles: Guitar jazz, Big band
Year: 2010
Art: Front

[ 6:32] 1. Our Secret World
[ 9:15] 2. The Cloister
[ 8:45] 3. Zhivago
[11:33] 4. Dream Of The Old
[ 6:37] 5. Turns
[10:08] 6. Use Of Light
[13:04] 7. Path Of The Heart

Kurt Rosenwinkel: guitar; João Mortágua: alto saxophone (1, 5, 7), soprano saxophone (5, 7); João Pedro Brandão: alto saxophone (1, 3-6), clarinet (1, 3), soprano saxophone (2), flute (4, 5, 7); Mário Santos: tenor saxophone (1-6), clarinet (2-4); José Pedro Coelho: tenor saxophone, flute (1); Rui Teixeira: baritone saxophone (1-3, 5), bass clarinet (3, 4, 6, 7); Nick Marchione: trumpet; Erick Poirrier: trumpet;Susana Santos Silva: trumpet (1, 3-6), flugelhorn (2, 7); Rogério Ribeiro: trumpet (1, 2, 6, 7); Michaël Joussein: trombone; Álvaro Pinto: trombone; Daniel Dias: trombone; Gonçalo Dias: trombone; Abe Rábade: piano (1-5) Demian Cabaud: double-bass (1-7); Marcos Cavaleiro: drums (1-7); Carlos Azevedo: arranger (1, 3-5), conductor (1, 3-5), piano (6, 7); José Luis Rego: alto saxophone (2), soprano saxophone (3, 6), clarinet (7); Pedro Guedes: arranger (6), conductor (2, 6, 7); Ohad Talmor: arranger (2, 7); José Silva: trumpet (3-5); Nuno Pinto: clarinet (4).

With the creative possibilities offered by its expanded palette, it's no surprise that so many artists who traditionally work in the context of more pliant, small ensembles turn to larger settings at least once in their career. For those already predisposed to greater compositional complexity, the intrinsic challenges are many; but so, too, are the ultimate rewards. It's no surprise, then, that Kurt Rosenwinkel—perhaps his generation's most influential guitarist, spawning almost as many imitators as Pat Metheny (himself, an early influence on Rosenwinkel)—has been collaborating with big bands in Europe for the last several years. What is surprising, however, is that Rosenwinkel has waited until 2010 to release an album featuring big band arrangements of some of his best writing. With a result as fine as Our Secret World, however, it's unlikely that many of the guitarist's large fan base would argue it's been anything but well worth the wait.

Following the slight sidestep of Rosenwinkel's Reflections (Wommusic, 2009)—a simmering album of mostly jazz standards, recorded with an empathetic trio that demonstrated just how much the guitarist's interpretive skills have grown since his early, similarly cover-heavy live album, East Coast Love Affair (Fresh Sound New Talent, 1997)—Rosenwinkel returns to a set of entirely original compositions. There's nothing actually new to be found, however, as the guitarist delves back to the lengthy, episodic "Dream of the Old," first heard on The Enemies of Energy (Verve, 2000) and forward to the equally colorful but more inherently effervescent "The Cloister," from Deep Song (Verve, 2005), an all-star session that also featured pianist Brad Mehldau and saxophonist Joshua Redman.

This time, however, Rosenwinkel eschews star-power for the built-in chemistry of Orquestra Jazz de Matosinhos (OJM), a near-15 year-old Portuguese ensemble that approached the guitarist with the idea of collaborating in 2007. That all but one chart ("Dream of the Old") was scored by OJM's Carlos Azevedo, Pedro Guedes or guest arranger Ohad Talmor without the guitarist's involvement, speaks to their surprisingly deep understanding of some of his most difficult compositions, and to the entire 16-piece ensemble's ability to traverse music that, at times, hints harmonically at Joe Zawinul and the orchestral expansiveness of Vince Mendoza, but ultimately sounds like nothing but Rosenwinkel.

Simply stunning throughout the disc, Rosenwinkel solos with particularly breathtaking vertical and horizontal movement on "The Cloister," while turning more lyrical on the balladic "Use of Light," one of three tunes culled from The Next Step (Verve, 2000), still considered by most to be a particular watershed in a discography that's nothing but high points. Rosenwinkel's ethereal mélange of heavily overdriven and harmonized guitar with his falsetto voice—blended so seamlessly as to create a singular whole—has never sounded so distinctive, despite an increasing number of guitarists constantly trying to copy his unique approach to sound, melody and harmony. A staple of Rosenwinkel's live performances for many years, "Turns" makes its first appearance on record here, its complex combination of rich timbres, knotty counterpoint and effortless, Afro-centric polyrhythms vividly contextualizing and recontextualizing Rosenwinkel's solo—a near-relentless push-and-pull of ascending and cascading linearity.

As much as Our Secret World represents some of his finest playing to date—eclipsing, even, his seemingly unmatchable invention on the double- disc The Remedy: Live at the Village Vanguard (Wommusic, 2008)—it's as much a reflection of Rosenwinkel's remarkable acumen as a writer, with an emergent compositional voice as early as The Enemies of Energy, only his third album as a leader, and the first to focus exclusively on original material. Amidst seven stunning arrangements, Azevedo's powerful rework of the groove-driven title track—originally on Rosenwinkel's "electronica" album, Heartcore (Verve, 2003)—turns it into something more organic, encouraging a solo from Rosenwinkel that, the first of the disc, sets the bar so high that it's hard to believe he actually manages to match and raise it even further throughout the rest of the 66-minute set.

With the brighter sonics of a brass and horn section, it's often easy for a big band album to hit visceral highs out of reach of smaller ensemble discs. But the excitement of Our Secret World—coupled with beauty that often reveals itself at the most unexpected moments—has nothing to do with the obvious, and everything to do with the perfect combination of compellingly unique source material; arrangers who dig, with perfect instinct and careful consideration, into the spirit and essence of the music to turn out charts of even greater complexity and depth; and a clearly talented ensemble, capable of navigating the scores with ease and an equally ideal mix of power and understatement. As undeniably fine as OJM is, however, it's hard to deny the real star of Our Secret World: Rosenwinkel. He is at the top of a game on the ascendancy with each successive album, and his gradually growing repertoire speaks of tremendous import and a continually evolving concept of sound, harmony and improvisation that's as personal, inimitable and, indeed, secret a world as it is inspirational and appealing to the guitarist's growing legion of fans—and aspiring musicians who continue searching for points of entry. ~John Kelman

Our Secret World mc
Our Secret World zippy

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Kurt Rosenwinkel - Caipi

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 61:04
Size: 141,0 MB
Art: Front

(3:56)  1. Caipi
(4:29)  2. Kama
(6:22)  3. Casio Vanguard
(5:42)  4. Summer Song
(4:46)  5. Chromatic B
(5:32)  6. Hold On
(6:17)  7. Ezra
(5:03)  8. Little Dream
(6:49)  9. Casio Escher
(5:46) 10. Interscape
(6:16) 11. Little B

Ten years in the making and with master guitarist Kurt Rosenwinkel predominantly playing all the instruments (aside from additional contributions from notable guests such as Mark Turner on tenor saxophone and Eric Clapton on "Little Dream"), this is an intriguingly fine album of light, but not lightweight, tracks. Opening with a distinctly Brazilian feel on the title track, its successor, "Kama," is characterised by falsetto, slightly tremulous vocals and legato violin from Frederika Krier. Typically, the pop/rock element of the songs presented here, such as on "Chromatic B," are deceptively straightforward sounding but in truth they're anything but. Skilfully crafted, the tunes contain a wealth of ideas often interposed with complex time signatures and overlaid motifs, that are atypical of most pop music. There are bursts of scintillating Pat Metheny-like guitar on "Casio Vanguard" which elevate the Latin-tinged song to a new level. When singing tunes such as "Hold On," Rosenwinkel's voice shares with fellow guitar virtuoso Larry Coryell a similar fragility. Both guitarists are not the most dynamic of vocalists, but this is ameliorated by the emotionally-charged sincerity in their respective voices. 

So the vocals do actually work, and are often augmented by guest backing vocalists such as Amanda Brecker, Zola Mennenoh and Kyra Garey. In the guitar breaks of the closer "Little B," Rosenwinkel evinces some Allan Holdsworth-esque axe work but nonetheless retains his own inimitable identity throughout. Rosenwinkel has produced, almost single-handedly, a staggeringly good album of heart-warming, memorable tunes. Eric Clapton is quoted as saying "Kurt Rosenwinkel is a genius he really is." Slowhand's not wrong; he is indeed one seriously talented dude. ~ Roger Fabey https://www.allaboutjazz.com/caipi-kurt-rosenwinkel-razdaz-recordz-review-by-roger-farbey.php
 

Personnel: Kurt Rosenwinkel: guitar, bass, piano, drums, percussion, synthesizer, voice; Pedro Martins: voice, drums, keyboards, percussion; Frederika Krier: violin (2,5,10); Andi Haberl: drums (2); Antonio Loureiro: voice (3); Alex Kozmidi: baritone guitar (3); Kyra Garey: voice (4); Mark Turner: tenor saxophone; Eric Clapton: guitar (8); Zola Mennenoh: voice (10); Amanda Brecker: voice (7,8,9); Chris Komer: French horn (11).

Caipi

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Orrin Evans - #Knowingishalfthebattle

Size: 168,9 MB
Time: 72:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. #Knowingishalfthebattle (Matthew Evans Remix) ( 0:58)
02. Calls ( 4:52)
03. When Jen Came In ( 5:55)
04. Chiara (10:00)
05. Kooks ( 6:30)
06. You Don't Need A License To Drive ( 7:13)
07. Half The Battle ( 7:23)
08. Heavy Hangs The Head That Wears The Crown ( 5:38)
09. Doc's Holiday ( 6:51)
10. Slife ( 5:29)
11. That's All ( 6:03)
12. Zeni Bea ( 4:09)
13. #Knowingishalfthebattle (Snarky) (Matthew Evans Remix) ( 1:05)

On paper, jazz pianist Orrin Evans returns to his childhood roots and all the branches of influence that accompany it to inspire the thematic forces of his next Smoke Sessions record, #knowingishalfthebattle. In reality, the listening experience provides so much more.

“Knowing is half the battle” comes from a 1980s children’s cartoon, “G.I. Joe,” and it’s a saying the Philly musician is fond of repeating during pivotal moments in his life.

The fruits of such inspiration lead Evans inward, as he relies on instinct and a sense of improvisation in every one of his original and originally designed compositions.

Enabling the improvisational instincts to flourish are two of the world’s finest examples, guitarists Kevin Eubanks and Kurt Rosenwinkel — also from Philadelphia. Eubanks and Rosenwinkel flavor Evans’ thematic scope with just the right amount of verve with open-minded absorption, gathering the inspiration from out there and within.

“They're two guitarists, but they're two people who have taken the guitar information and translated it in their own way,” Evans described in a recent press release from DL Media. “One uses a pick, one doesn't; one uses a volume pedal more than the other, one plays with more effects on their sound, one is coming from Wes Montgomery and the other is coming from a different point; but they're both taking the information they were given and doing something different with it.”

The album has Evans also playing with bassist Luques Curtis, borrowing his baby girl’s cries for her special number “Zeni Bea,” returning vocalist M’Balia, drummer Mark Whitfield Jr., and saxophonist Caleb Wheeler Curtis.

#knowingishalfthebattle is Evans’ third album from Smoke Sessions Records, a more than suitable follow-up to last November’s The Evolution Of Oneself. It’s also his way of imparting his own life lessons in his music. “We're taught that with knowledge comes power. Which is true, but we never really realize that with knowledge comes responsibility,” Evans explained in that press release. “Then we have to figure out how to forget. When you let go of everything that you've been taught, the possibilities of what can happen on the bandstand are endless.”

Evans and his recording band let go of everything to jam their hearts out on instrumental and vocal compositions mostly cooked up by these original artists.

M’Balia’s loose, on-key vocals in David Bowie’s “Kooks” keeps the melodically inclined happy, while the totally instrumental “You Don’t Need A License To Drive,” taken from Evans’ playwright dad, gives the jazzheads what they most desire, lots of funked-up chordal nodules to vibe off.

Evans displays originality of thought that pushes traditional jazz to the outer limits, into a kind of free form that encompasses more than the stagnant, meditative New Age class and the classicist-abstaining, experimental world music followers, where anything goes as long as it’s pregnant with possibility.

The slow-moving but not at all monotonous “Heavy Hangs The Head That Wears The Crown” by Caleb Wheeler Curtis fulfills the promise of both extremes, giving Eubanks and Rosenwinkel plenty of art room to create on the spot. Evans gives the creativity room yet grounds the lofty art with a place to go, rest, and return; he and his rhythm section come and go, reminding the guitarists to come back down to earth eventually, which they do in wispy, whispery strands. ~Carol Banks Weber

#Knowingishalfthebattle                 

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Mark Turner - Yam Yam

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 71:30
Size: 166,1 MB
Art: Front

( 9:00)  1. Tune Number One
( 7:17)  2. Cubism
(10:47)  3. Yam Yam I
( 6:10)  4. Moment's Notice
( 7:07)  5. Isolation
( 9:59)  6. Subtle Tragedy
( 7:49)  7. Zürich
( 5:58)  8. Blues
( 7:20)  9. Yam Yam II

This early quintet outing is a strong showcase for Mark Turner the composer. It's also an important chapter in the special relationship between Turner and guitarist Kurt Rosenwinkel. The two would later work mainly in piano-less settings, but here they are joined by pianist Brad Mehldau, who adds his advanced harmonic insight to the session. One could rightly bill the record as "Turner and Rosenwinkel with the Brad Mehldau Trio," as the rhythm section consists of bassist Larry Grenadier and drummer Jorge Rossy, Mehldau's longtime collaborators. The disc boasts five strong Turner originals, including "Zurich," which would resurface on 2001's Dharma Days. (This version features guest tenorists Seamus Blake and Terrence Dean.) Rosenwinkel weighs in with "Cubism," a similar version of which he included on 2000s The Enemies of Energy. The two remaining non-Turner pieces are Mehldau's hard-swinging "Subtle Tragedy" and a bright five/four rendition of John Coltrane's "Moment's Notice." Yam Yam reveals much about the evolution of all these players, and is therefore well worth the attention of serious fans. ~ David R.Adler http://www.allmusic.com/album/yam-yam-mw0000188498

Personnel : Mark Turner, Seamus Blake, Terence Dean (tenor saxophone);  Brad Mehldau (piano);  Kurt Rosenwinkel (guitar);  Larry Grenadier (bass);  Jorge Rossy (drums).

Yam Yam

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