Easily the most original guitar voice of the decade, Kurt Rosenwinkel continues his ever-upward climb with this brilliant live outing, recorded in January of during a weeklong engagement at the hallowed Village Vanguard. The remarkable drummer Eric Harland, who cuts up the beat as energetically and creatively as anyone on the scene today, fuels the proceedings with his rhythmic ingenuity and infinite capacity to swing. This two-CD set accommodates maximum stretching. The title track is an alluring tango-flavored number featuring some extraordinary high-register excursions by Turner. Rosenwinkel alternates between a clean tone and warm, slightly distorted sound, blowing over the changes with impunity in a remarkably fluid scalar manner reminiscent of guitar-god Allan Holdsworth, who probably exerts a greater influence on Rosenwinkel than the Big Three Pat Metheny, John Scofield, Bill Frisell exerted on many of his fellow Berklee students. Read David R.
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That vastly overlooked record was a commanding balance of musicianship, texture and composition that today remains one of the best fusion releases of the last five years.
While songwriting may come in a close second, Rosenwinkel is first and foremost an accomplished guitar player. The reason why his guitar playing is so attractive to me is that it is a amalgamation of many of my favorite jazz guitarists: Pat Metheny, Pat Martino, John Scofield and Bill Frisell. This resulting mix is a style all his own: rich in melody and harmonics, solid in technique.
Rosenwinkel has also been known to vocalize over his guitar lines, but in hushed tones, not scatting. It adds a little harmonic heft to his sound. With Rosenwinkel albums coming less frequently than they used to and a curiosity about how this talented guitarist can perform in an acoustic straight-jazz setting on his feet made me eagerly anticipate this February release.
This time around, Rosenwinkel performs with the working band he has assembled since that recording. Vanguard audiences are a discerning type and understand the music well enough to not interrupt musicians with ill-timed applause and other noises during the softer passages; this makes for better quality recordings, and The Remedy is no exception, here. The other factor that comes into play before the proverbial needle hits the wax is that major label Verve artist Rosenwinkel chose to release this set on artistShare, a fan-funded artist project that represents a different model for getting music to the public without the need for the excessive overhead that comes with distributing music the conventional method.
The Remedy , which documents a gig from January , contains only eight tunes, but spread out over 2 CDs and no song runs less than All but two of them are new Rosenwinkel compositions. Rosenwinkel absolutely sizzles on his solo, chasing down every euphonious possibility the chord progression gives him. Turner and Goldberg follow suit while Harland is wrecking his drum kit. Kurt begins the piece solo, playing gently plucked harmonically complex chords before the rest of the group enters inconspicuously almost five minutes in and the sweetly melancholy melody is introduced.
Harland finally gets turned completely loose and he takes advantage with an thundering display of rhythmic noise. What Rosenwinkel set to accomplish with The Remedy , however, was to convey to his serious fans the true experience of his band and his music as he presents it to discriminating live audiences. March 30, by S. Victor Aaron.
Share this:. Author Recent Posts. Victor Aaron was a long-time SQL demon for a Fortune company by day, and remains a music opinion-maker at night. His musings are strewn across the interwebs on jazz. Follow him on Twitter: SVictorAaron.
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