Kurt Rosenwinkel

Rosenwinkel has a reputation for exploration - including forays into hip-hop - that may, unjustly, deter some old school jazz fans from taking the opportunity to actually listen to him, and as if in response, he and the band eased the Sunday afternoon matinee crowd into the set with the old Jimmy Van Huesen standard "Darn That Dream." However, my assertion may be misguided, as Rosenwinkel is no stranger to playing and recording standards and they are often a part of his set list. And this particular version was bright and bouncy, with the only misstep coming on the part of Poor, who was perhaps a tad overaggressive. This was, however, the only anomaly on a strong set that centered primarily on Rosenwinkel's originals. Meanwhile, the guitarist's playing on this first number brought to my mind the great Jim Hall - a guitarist who also heavily influenced Pat Metheny - whose sound Rosenwinkel also reminds one of at times.

The second track, "A Shiftng Design," upped the ante, but despite the guitarist's heavy use of effects, and a highly energetic rhythm section, the song more resembled vibrant straight ahead jazz with a touch of progressive rock than full blown jazz rock fusion. Rosenwinkel moved effortlessly across the fretboard of his D'Angelico sunburst semi-hollow guitar, creating complex runs and lush harmonies. His command of the instrument and intriguing voicings showed clearly the influence of guitarists as diverse as George van Eps and Allen Holdsworth, while also referencing the explorations of other musical heroes like pianists Bud Powell and Elmo Hope. And while the guitarist's shy demeanor did nothing to dispute his reputation as a cerebral musician, his playing--although smooth and controlled - exuded its emotional content through the very notes as opposed to bodily gyrations and facial grimaces favored by many.

Although the group consisted of great musicians, and Rosenwinkel allowed plenty of space and opportunities for the others, his guitar was still the central element in the whole. The waltzing, Metheny-esque "Deju Vu" picked up intensity and showcased great playing by all, especially Goldberg, while the slow and beautiful "Under it All" featured lovely solo guitar opening and displayed Rosenwinkel's uncannily superb melodic sense. This is the title track of an early unreleased album by the guitarist that fans have been clamoring for a release for years. And now I know why, as this number is one of the finest and most delicate melodies I have heard from him.

The too-brief set concluded with a stellar, uptempo, new and, as of yet untitled song that featured Rosenwinkel's most fiery playing. The ultra fast, yet smooth and melodic riffs produced were somewhat like a meeting of Al Dimeola with Pat Metheny, but with Rosenwinkel's own unique flair. Here Goldberg added another strong and somewhat traditionally-minded solo that contrasted nicely with Rosenwinkel's style, while Poor atoned for his earlier hiccup with some outstanding Latin-flavored drumming.

Rosenwinkel's music is cutting edge, but still so grounded in great melody and harmony that I believe any jazz fan with an open mind would find themselves enjoying. The musician proved to be more than just a cult hero for guitar geeks, but instead made a strong case for being what his supporters have been arguing all along: an original voice who is helping blaze the trail into the future for jazz.