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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Beautiful and Enthralling, January 12, 2000
I had previously only heard Kurt on two albums, one by Paul Motian, and the other by Chris Potter, both albums he plays superbly. So my expectations were high, however on this album, he exceeded them in a much different way than I expected. Throughout he shows off his highly developed and personal guitar style, but on the album I feel that his writing ability shines through even more. The songs are beautifully crafted and well thought out. Beautiful is the key word here. The melodies are very linear as is the entire album. Shifting from jazz to groove, to polish(classical really), to music that can't even be classified in a genre, and that in my opinion is the key of a great artist and song. To defy category and genre, and this album in my opinion achieves that ideal beautifully. I strongly urge anyone to pick this album up and check him out now. He is highly touted and is going to be big soon enough. I hope you enjoy as much as I have been enjoying it.
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7 of 8 people found the following review helpful:
5.0 out of 5 stars
This is an amazing album, August 6, 2000
By A Customer
Anybody that thinks this album is dull doesnt know anything about jazz music and where it is going. Rosenwinkel is heading a new wave in jazz, a new fushion. He uses complex time signatures, complex chord changes, and complex sounds. My favorite track is also track 4. I also really enjoy the track in which he sings polish. For you people who think this album is lame, go listen to Kenny G or something.
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7 of 9 people found the following review helpful:
5.0 out of 5 stars
Best album of the Millenium, January 13, 2001
Sure, its only 2001, but I suspect this album would be in my millenial top ten even in 2999. Abandon all pretense when you toss these tracks on the old stereo system, and be prepared for a great step in the evolution of jazz. Rosenwinkel's compositions and arrangements are amazing to say the least, and every solo is a pristine example of what modern jazz improvisation should be. If Rosenwinkel's guitar virtuosity isn't enough, then just wait for Mark Turner's Tenor Sax action. Turner might be the hottest sax player out there, and he certainly argues his case well on this album. The rest of the quintet (a regularly perfroming group, so everthing is TIGHT) consists of pianist and keyboardist Scott Kinsey, Bass-man Ben Street, and drummer Jeff Ballard. These three are no slouches themselves, and deliver top-notch performances. Mind you, this is not trad jazz, its not Metheny, and I've been unable as of yet to give it a classification. All I can say is that its fun, hip and intellectual all at the same time, and it spends a disproportionate amount of time in my CD player.
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