‘Caipi’ – Kurt Rosenwinkel

caipi

PHILADELPHIA-BORN, Berlin-resident jazz guitarist/keyboardist Kurt Rosenwinkel’s career is especially associated with influential artists such as Gary Burton, Paul Motion, Brad Mehldau and Chris Potter. So the sunshiny, vocal emphasis of his new release Caipi comes as something of a surprise. Yet it’s a surprise which prompts fascination, increasing endearment and positivity. 

Rosenwinkel suggests that it’s taken a decade to make this album a reality – and whilst it’s very much a solo album (the composer playing guitars, bass, piano, synth and drums throughout, and also occasionally taking lead vocal), he also welcomes a number of guests to provide a panoply of textures, including appearances from saxophonist Mark Turner and vocalist/lyricist Amanda Brecker. There’s even a subtle cameo from Eric Clapton, who describes Rosenwinkel as “a genius – he really is”; and the album’s decidedly effervescent South American flavours (‘Caipirinha’ being a Brazilian/Portuguese cocktail) are enhanced by the intriguing vocal timbres of young Brazilian singer/instrumentalist Pedro Martins.

This full hour’s eleven-track diversity might initially be perplexing, especially for fans of the guitarist’s instrumental-jazz back catalogue. But it doesn’t take long to warm to the naive frailty of Pedro Martins’ gentle voice; and though Rosenwinkel’s straight vocal delivery may be reminiscent of ’70s prog instrumentalists who came from behind the frontman’s shadows to sing for their own solo projects, it’s these constantly fluctuating points of difference, plus a tangible homely quality, which attracts. The background to this bold, intentional move is explained thus: “Writing songs with lyrics has always been very much a part of musical world, but they’ve usually stayed in my private sphere. With Caipi, I realised that these were also lyric songs and that ultimately I would sing them as well. It’s definitely something different from my other albums, but it’s a familiar place for me and it was just a matter of doing what the music needed”.

A sultry bossa nova influence is there from the opening of the title track, its wordless backing vocals and flute-voiced synth redolent of Pat Metheny or The Isley Brothers, with Rosenwinkel’s electric guitar improv reaching up to an azure sky; and Martins’ tremulant falsetto sails across the gently bass-driven gossamer-sustained layers of Kama. The contrasting pop chirpiness of Casio Vanguard and Summer Song quirkily recall the pop-jingle of ’80s band Johnny Hates Jazz, though brimming with invention and detail, whilst Methenyesque Chromatic B‘s babbling electric bass underpins its Latin piano-and-guitar pulse. Shadows-style riffs support Rosenwinkel’s affirming vocal in purposeful Hold On (“…and you know we’re not alone”); and the folksy tenderness of Ezra, dedicated to his youngest son, is similarly uplifting (“live each day with joy and laughter”) as Mark Turner’s tenor sax extemporises broadly over a mid-rock groove.

By now, it’s possible you’ll be hooked… only to discover Rosenwinkel still has four more appealing numbers to deliver – Little Dream and Casio Escher (both embellished by Amanda Brecker’s vocal dexterity), bossa shuffler Interspace and anthemically-closing Little B. An album which is both curious and distinctive, it leaves a beautiful impression of radiance and hope, and is described by its creator as “angels working for the light”.

Released in UK/Europe on 10 February 2017, and in the US on 30 March 2017, Caipi is available from Heartcore Records as well as iTunes, Amazon, etc.

 

Kurt Rosenwinkel acoustic guitar, nylon guitar, electric guitar, bass, piano, drums, percussion, synth, Casio, voice
with
Pedro Martins voice, synth, harmonium, drums, floor tom
and guests
Frederika Krier violin
Andi Haberl drums
Antonio Loureiro voice
Alex Kozmidi baritone guitar
Kyra Garéy voice
Mark Turner tenor sax
Amanda Brecker voice
Eric Clapton guitar
Zola Mennenöh voice
Chris Komer French horn

kurtrosenwinkel.com

RazDaz Recordz / Heartcore Records – RD4618 (2016)

‘We Make The Rules’ – Jochen Rueckert

CDDG6T1-002.pdf

THE MAXIM of German drummer, composer and bandleader Jochen Rueckert is certainly meritorious as his quartet releases We Make The Rules, captured following an international tour: “I’m getting a little allergic to ‘project style recordings’, where you play music in the studio without being able to fine tune it on the road. All said and done, the music on the album was recorded in only seven hours and six of the tracks are first takes, the rest second takes. The perks of having a working band!”.

That ethos is palpable in the assured immediacy of his interaction with fellow NYC-based band members Mark Turner (tenor sax), Lage Lund (electric guitar) and Matt Penman (acoustic bass), with whom he has worked for the last few years – all nine numbers here were written specifically for this grouping. It’s a sequence that requires ‘total immersion’ to fully appreciate its experiential depth, as these musicians are experts in detail and have evidently honed Rueckert’s technical, written frameworks before embarking with their panoply of break-loose extemporisations – there’s never any sense that this quartet is safely going through the motions.

The luxuriance of Mark Turner’s tenor is immediately apparent in opening number Eggshells, perfectly matched to the mellow solo and chordal reverberations of Lage Lund’s guitar; and Matt Penman and Jochen Rueckert provide its sensitive, detailed rhythmic buoyancy. Pretty From Afar displays a similar line of accomplishment, with a freer central section which finds guitar and sax weaving ideas together, the balance beautifully observed; and fans of TV’s Breaking Bad, take note – Saul Goodman swaggers to fine bass work from Penman (‘s’all good, man!).

Title track We Make The Rules is delightfully ebullient – and Rueckert, though never dominating proceedings, underpins his three colleagues’ improvisations with increasingly strident, ticking complexity. Slow ballad Bess glides unerringly to the softness of bass and drums, Turner’s congenial tenor lines melding effortlessly with Lund’s lusciously-woven chords; and there’s a mischievous streak to The Cook Strait which invites a more open dialogue amongst the quartet.

Rueckert’s cerebrally-intended Alloplasty is characterised by the enhanced echoings of Lund’s guitar, and the entire sequence ripples pleasingly to impressive drum patterns and Turner’s eloquent searchings. Following, the faster swing of Yellow Bottoms encourages Lund further into the spotlight with his measured-yet-leftfield creativity – a joy to hear; and finally, Manong Twilight At The Whatever Hotel (inspired by an artwork by the composer’s late jazz aficionado uncle) comfortably relaxes into a sublime, soporific haze in which tenorist Mark Turner basks.

Jochen Rueckert’s Whirlwind debut may not shout out strongly memorable melodies or revolutionary techniques – but it radiates an understated warmth and sophistication which is so very appealing. Released on 13 October 2014, visit the We Make The Rules album page for further information, audio samples, promo video and purchasing.

 

Mark Turner tenor sax
Lage Lund electric guitar
Matt Penman acoustic bass
Jochen Rueckert drums

jochenrueckert.net

Whirlwind Recordings – WR4658 (2014)