Sign in to view read count Among the current crop of guitarists who are exploring new horizons and gathering an underground following, Ben Monder and Kurt Rosenwinkel are two of the finest players in terms of how they have mastered the tradition and then use that as a launching pad for their own particular tangents. Rosenwinkel has been heard to great advantage lately in a group that he leads at Smalls in New York. He has also been featured with saxophonists Seamus Blake and Mark Turner, two men who also have been lauded for their efforts to usher jazz into the new millennium with style. Instead of what might have made sense for this guitarist, a prickly set of all originals, Kurt opts to explore some well-worn standards, three Charlie Parker lines, and one original from pianist Michael Kanan. So the story goes, Rosenwinkel had been shedding standards with the trio heard here for quite some time and finally decided to catch some of this creative energy on tape.

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The best artists are those with voices so singular that they can be identified within the first couple of notes. With the release of Deep Song , that potential is fully realized. By the time the group hit the studio immediately following a whirlwind tour of Europe last summer, they were deeply inside both the material and the collective gestalt. Most revealing are three tracks that Rosenwinkel revisits from his first two Verve releases. As good as those discs are, compare the version of "Synthetics" on Enemies of Energy with this new reading. Essentially an opening theme that leads into a time-based free improvisation, it also demonstrates the rich interplay taking place throughout the album. Elsewhere, the newer material finds Rosenwinkel continuing to hone his language.


Kurt Rosenwinkel

The track may be heard here courtesy of the Verve Music Group. Pianist Brad Mehldau enters a few bars before Joshua Redman and Rosenwinkel play the melody together. For this tune, Rosenwinkel has constructed alternating long and short sections. For sections A and C, Rosenwinkel wrote chord progressions four and six bars in length, respectively that are played four times each. The shorter B and D sections are more harmonically active. Some of the chord types in these sections go beyond the harmonic language typically found in standards.


A Look at Rosenwinkel’s Style

December 3, Label: Heartcore Records, Personnel - Kurt Rosenwinkel: guitar, voice, electronics; Tim Motzer: electro-acoustic guitar synth, electronics; Gintas Janusonis: drums, percussion, electronics. The versatility of renowned guitarist Kurt Rosenwinkel is on display in his most recent outing with the experimental post-jazz trio Bandit 65, whose impressionistic musical languages embrace jazz, rock, and ambient. The seven spontaneous tracks on Searching the Continuum were captured live during concerts in Europe Stocholm, Madrid, Berlin, Vienna and the US Philadelphia and Los Angeles and reveal to have a distilled, deeply personal quality to them. The album is a product of three years of intense live performance and comes full of aerospheric involvement. Rosenwinkel and his adroit bandmates - fellow guitarist Tim Motzer, an expert in looping and textural soundscapes, and well-versed drummer Gintas Janusonis - follow the principle that the music creates itself, ensuring tight collective integrity in addition to moments of sheer individuality. Percussive and electronic noises play fundamental roles in the inception, while, later on, bluesy guitar licks morph into chromatic jazz moves toward the end. It unfolds like a slow dancing in sustenance of drone intrigue, floating electro-acoustic guitar coils with synth-infused motivation, and circumspect drumming; all under an non-rigid structure.

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