Kurt Rosenwinkel

Overview

In this section, we'll consider a number of artists who distinguished themselves in the late 80s, the 90s, and early 2000s. We will note the important contributions of several American and Cuban artists to Latin jazz, and follow the "mainstreaming" of Latin jazz over the last quarter-century. We will also hear from a number of international jazz artists who incorporate indigenous folk music from around the world into their music, and have thus made a significant contribution to the globalization of jazz.

Objectives

Upon completion of this lesson, you will be able to do the following:

Recognize some of the key American and Cuban jazz artists and their contributions to Latin jazz
Recognize some of the international figures in jazz who contribute to the globalization of jazz
Recognize some of the recent jazz artists, both mainstream and progressive, whose art continues to fuel the debate about the future of jazz—and what jazz is

Kurt Rosenwinkel

Kurt Rosenwinkel (b. 1970) is another jazz guitarist making his mark. Born and raised in Philadelphia, Rosenwinkel studied briefly at Berklee College of Music in Boston before moving to New York in the late 1980s to join Paul Motian's Electric Bebop Band. By the mid-1990s, he was recording his own albums. In his music, we hear the influence of Pat Metheny and John Scofield. But Rosenwinkel has found his own voice on guitar — and, significantly, his own compositional style.

The opening track The Cloister ♫ from the 2005 album Deep Song is an alluring composition by the guitarist. It's a contemporary sound, with a relaxed swing in triple meter. Most of his band mates — Redman, Mehldau, and Grenadier — are already familiar to us, and they know one another well. The group demonstrates an interactive coherence that produces what might well be described as "twenty-first-century cool." Let's listen The Cloister ♫.

Starting with just drums, then adding piano and bass, the introduction establishes the essential groove of the rhythm section, as it will support the two front lineThe brass and wind instruments in a jazz combo—such as trumpet, trombone, and saxophone. instruments through the head. Tenor sax and guitar articulate Rosenwinkel's melody in unison for the better part of two and a half minutes (0:33-3:05). Solos follow from Rosenwinkel (3:05-4:30) and pianist Brad Mehldau (4:31-5:56) that enrich an already potent structure and nudge the temperature up a few degrees. A modified headA synonym for melody. is reprised (6:02-7:02), still carrying some of the energy imparted by the soloists. A new final section coalesces as Joshua Redman on tenor saxophone rips up the scale (7:09-7:10), joined by Rosenwinkel on guitar. The two instrumental lines diverge and intermingle with seeming abandon, before coming together again (8:00) to bring the piece to a serene and altogether satisfying conclusion.

Kurt Rosenwinkel, The Cloister ♫ (Kurt Rosenwinkel), Universal City, California, 2005. Kurt Rosenwinkel, guitar, voice; Joshua Redman, tenor sax; Brad Mehldau, piano; Larry Grenadier, bass; Ali Jackson, drums.

"To rise above the crowd, you must discipline yourself unceasingly to the strict demand and realities of your ambition."

-Arturo Sandoval

"Music, for me, has always been a place where anything is possible--a refuge, a magical world where anyone can go, where all kinds of people can come together, and anything can happen. We are limited only by our imaginations."

-Bill Frisell

Tito Puente recorded more than 100 albums over the course of his career. He earned 5 Grammy Awards and The New York Times called him "the most important Latin musician of the last half century."

History